A 

0 


PreseuMtloii 


Digitized  by  tine  Internet  Arciiive 

in  2007  witii  funding  from 

IVIicrosoft  Corporation 


littp://www.arcli  ive.org/details/clialktalkcrayonpOObartiala 


Bart  in   Chalk  Talk   Performance 


CHALK  TALK 
AND  CRAYON 
PRESENTATION 


A  Handbook  of  Practice  and  Performance  in 
Pictorial  Expression  of  Ideas. 


by 


CHARLES  L.  BARTHOLOMEW 

an 

D 

ILLUSTRATED 
with  drczvings  by  Clare  Br'iggs,  Sidney  Smith,  John  T. 
McCiitcheon,  Fontaine  Fox,  Neysa  McMein,  Edward 
Marshall,  Alton  Packard,  Winsor  McCay,  "Hap"  Had- 
ley,  Frank  Wing,  J.  W.  Bengough,  and  many  other 
users  of  the  crayon  in  public  presentation. 

an 
n 

Chicago 

FREDERICK  J.  DRAKE  AND  CO. 

Publishers 


P 


COPYRIGHT,  1922 

By 

BART., 

C.  L.  Bartholomew 


Acknowledgement  is  Hereby  Made  to  the  Federal  Schools,  Inc., 
Minneapolis,  for  the  Privilege  of  Reproducing  from  the  Course  in 
Illustrating  and  Cartooning,  Chalk  Talk  Stunts  and  Illustrations 
from  Contributors  and  Students,  Making  Use  of  Drawing  in  Crayon 
Presentation. 


Printed  in 
The  United  States  of  America 


This  little  book  is  fondly  dedicated 
to  the  memory  of  my  son 

ROBERT  H.  BARTHOLOMEW 

^hose  alert  mind  first  conceived  distribution  of  chalk 
talk  stunts  and  programs  commercially 
for  general  use. 


PREFACE 


The  speaker  along  any  line  who  uses  a  story,  re- 
lates an  anecdote  or  describes  a  scene,  is  in  reality 
drawing  a  picture  with  words  before  his  audience. 

The  use  of  illustrations  is  not  confined  to  enter- 
tainment. The  appeal  through  the  eye  is  uni- 
versal. The  lecturer  who  presents  facts  in  picture 
most  pleasingly  conveys  information  to  others. 

The  teacher  who  can  visualize  ideas  is  the  one 
whose  lessons  will  be  most  enduring,  as  well  as 
most  attractive. 

The  reformer  or  evangelist  who  can  present 
truths  in  picture  most  quickly  attracts  attention 
and  most  convincingly  arrives  at  conclusions. 

One  need  not  be  an  artist  to  convey  ideas  pic- 
torially.  The  simple  diagrammatic  picturing  of 
ideas  constituted  the  printed  language  of  many 
primitive  peoples. 

The  lecturer,  teacher,  reformer  or  promoter  of 
thought  along  any  line,  whether  in  business,  edu- 
cation or  entertainment,  will  do  well  to  get  the 
habit  of  carrying  a  piece  of  crayon  before  his 
audience,  if  it  is  for  no  other  purpose  than  focusing 
attention  in  the  introduction  of  his  subject.  Some 
of  the  simplest  conventional  chalk  talk  stunts  will 


bring  surprising  results  in  awakening  and  center- 
ing interest.  The  fact  that  one  does  not  draw  is 
no  reason  for  not  availing  himself  of  chalk  talk. 
Anyone  who  will  try  can  diagram  ideas. 

For  the  one  who  enjoys  pictures  and  likes  to 
experiment  in  making  them  in  an  amateur  way,  or 
for  the  beginner  in  cartoon  work  or  illustration  of 
any  kind,  the  chalk  talk  furnishes  the  medium  for 
expression  which  gives  him  experience  in  what 
people  are  interested  in  and  laugh  at.  By  actually 
drawing  out  illustrations  of  ideas  before  an  audi- 
ence he  gets  first-hand  knowledge  of  what  brings 
results.  There  is  no  inspiration  like  the  applause 
of  an  audience.  It  stimulates  originality.  Well 
known  newspaper  writers  and  cartoonists  find 
public  presentation  invaluable  in  gaining  them 
direct  contact  with  their  readers. 

The  mission  of  this  booklet  is  to  place 
in  the  possession  of  thinking  men  and  women  a 
medium  of  exchange  of  thought  and  conveyance 
of  ideas.  It  is  prepared  not  merely  to  stimulate 
interest,  but  to  actually  start  one  in  crayon  pres- 
entation, with  the  conviction  that  once  started, 
the  use  of  the  crayon  in  public  speaking  will  be 
found  an  ever  increasing  asset. 


Table  of  Contents 
Chapter  Page 

I.     Chalk  Talk  Possibilities 13 

II.     Chalk  Talk  Development 33 

III.     Chalk  Talk  Practice 49 

IV.     Chalk    Talk    Equipment 59 

V.     First   Performance    79 

VI.     Chalk  Talk  Classification 89 

VII.     Ten  Standard  Stunts 103 

VIII.     Chalk  Talk   Achievement 125 

IX.     How  to  Succeed  in  Chalk  Talk 149 


CHALK  TALK  AND  CRAYON 
PRESENTATION 

Chapter  I 
CHALK    TALK    POSSIBILITIES 


The  term  "chalk  talk"  has  been  made  to  cover 
any  use  of  the  crayon  in  public. 

Very  often  the  chalk  does  all  of  the  talking. 
It  is  not  an  essential  of  chalk  talk  that  the  per- 
former use  spoken  language. 


Text  Figure  1 
•Oh   Min"   by   Sidney  Smith 


Drawing  for  entertainment  is  sometimes  done 
to  musical  accompaniment.    Lettered  titles  at  the 


14  CRAYON  PRESENTATION 

end  of  the  drawing  act  are  effective.  Sidney 
Smith's  "Oh  Min!"  and  Clare  Briggs'  "Skinnay, 
C'mon  Over!"  plainly  lettered  above  the  picture 
is  enough  said. 

The  combination  of  drawing  and  speaking  is 
much  easier  than  ordinary  public  speaking.  The 
ambitious  chalk  talker  with  a  knack  for  picturing 
what  he  is  talking  about,  has  unlimited  oppor- 
tunities for  the  use  of  his  ability. 

A  well  thought  out  line  of  talk  on  any  subject, 
illustrated  now  and  then  by  a  simple  drawing,  is 
often  quite  as  effective  as  continuous  rapid  fire 
drawing  and  speaking. 

With  ability  in  either  public  speaking  or  pictur- 
ing ideas,  the  other  may  be  acquired  very  quickly. 
The  sign  painter,  card  writer,  architectural  or 
mechanical  draftsman  can  make  use  of  his  crayon 
at  once  by  memorizing  a  few  sentences  to  fit  in 
with  simplest  picture  diagrams. 

On  the  other  hand,  the  individual  whose  train- 
ing has  brought  spoken  language  into  play  in  his 
daily  vocation,  such  as  the  salesman,  the  teacher 
or  the  student  with  class  room  recitation,  can 
memorize  outlines  to  be  drawn  to  illustrate  his 
remarks. 

For  the  average  beginner,  there  is  a  fascination 
about  pictorial  expression  of  ideas.  In  no  other 
way  can  one  so  readily  develop  ability  in  ex- 
pressing himself  as  by  use  of  the  crayon  in 
public.     Chalk  talk  teaches  originality. 

Who  Can  Succeed?  It  is  not  for  the  highly 
trained  draftsman  or  orator  that  crayon  presenta- 


CHALK  TALK   POSSIBILITIES 


15 


tion  is  best  adapted.  The  person  who  can  tell  an 
audience  something  simply,  and  picture  it  quickly, 
is  most  likely  to  win  applause. 


Text  Figure  2 
Briggs  and  "Skinnay." 

To  begin  with,  at  least,  the  chalk  talker  should 
not  strive  for  the  spectacular  in  either  picture  or 
language.  Rather  let  him  go  about  crayon  pres- 
entation in  an  easy  natural  manner,  with  no 
straining  for  effect.  By  easy  gradations  he  will 
proceed  from  this  line  of  conversational  explana- 
tion  of  casual   illustrations  to   studied  picturing. 


16  CRAYON  PRESENTATION 


Text  Figure  3 
Clare  Briggs'  Feller  Who  Needs  a  Friend 


CHALK  TALK   POSSIBILITIES 


n 


with  elaborate  color  effects  and  spectacular  light- 
ing. 

No  matter  how  expert  one  becomes  with  the 
crayon  or  how  cleverly  he  can  apply  colors,  he 
will  always  find  use  for  the  little  diagrammatic 
drawings,  made  plain  by  a  few  words  or  sen- 
tences.    The  entertainer  who  best  pleases  people 


Text  Figure  4 
Sidney    Smith    Portrait    of    Self    and    Pitcher    Evolution 

is  the  one  who  uses  trick  drawings  with  quick 
transformations,  and  surprising  climaxes  that  take 
the  audience  unawares.  Such  evolutions  must  be 
carefully  studied  out  in  advance,  word  accompani- 
ments memorized,  and  picture  presentation  fixed 
in  mind  by  practice,  so  that  one  can  do  the  stunt 
in  public  in  the  most  casual  manner.  Going  over 
a  stunt  time  and  again  in  rehearsal  makes  clever 
public  presentation  possible  for  one  who  has  never 
previously  attempted  chalk  talk. 


18 


CRAYON  PRESENTATION 


Chalk  talk  has  a  broader  application  than  enter- 
tainment. Neither  is  it  limited  to  education  in 
schools  and  colleges. 


i 


Text  Figure  5 

Match-stick  Men  by  John  H.  Patterson 

Reprodoiced  by  Courtesy   of   System  Magazine 

John  H.  Patterson,  founder  of  the  National 
Cash  Register  Company,  says:  "Business  is  only 
a  form  of  teaching." 


CHALK  TALK   POSSIBILITIES 


19 


"You  teach  people  to  desire  your  product. 
That   is   selling. 

"You  teach  workmen  how  to  make  the  right 
product.      That   is   manufacturing. 

"You  teach  others  to  co-operate  with  you. 
That  is  organization. 


Text  Figure  6 
John  H.  Patterson  Using  Chalk  Talk  in  Business  Application 

Reproduced  by  Courtesy  of  System  Jklagazine 

"To  succeed  in  business  it  is  necessary  to 
make  the  other  man  see  things  as  you  see  them. 

"I  hold,"  says  Mr.  Patterson,  "that  one  cannot 
rely  on  speech  alone  to  make  himself  understood. 


20 


CRAYON  PRESENTATION 


Diagrams  are  more  convincing  than  words,  and 
pictures   are   more    convincing   than    diagrams. 

"A  few  lines  makes  a  picture — a  picture  gets 
your  idea  across.  I  have  often  heard  a  speaker 
ask:   'Do   you  see   the  point?' 

"He  wants  to  know  if  the  hearer  actually 
has  the  point  in  eye  as  well  as  in  mind,  that  he 
understands  it  well  enough  to  make  a  mental 
picture. 

"Well,  then,  why  not  draw  the  picture? 

"Instead  of  asking  if  the  point  is  seen,  why 
not  draw  the  point  so  that  it  cannot  help  being 
seen? 


Prosperity 


Thinking        Burdened  with  detsuU 


Text  Figure  7 
Characters  Used  by  John   H.   Patterson  in  Business  Chalk  Talk 

Reproduced  by   Courtesy   of   System   Magazine 


"The  ideal  presentation  of  a  subject  is  one  in 
which  every  subdivision  is  pictured,  and  the 
words  are  used  only  to  connect  them. 

"I  early  found  that  in  dealing  with  men,  a 
picture  was  worth  more   than  anything   I   could 


CHALK  TALK  POSSIBILITIES 


21 


say.  Very  few  people  understand  words.  You 
cannot  convince  a  man  if  he  is  thinking  about 
something,  different  from  what  you  are  thinking 
about,  and  it  is  right  there  that  the  spoken  words 
fail." 


Text   Figure  8 

Replica  of  Store   Interior  Used  in   Business  Chalk  Talk  by  John  H. 

Patterson 

Reproduced  by  Courtesy   of  System  :Maga2ine 

The  picture  brings  the  speaker  and  the  listener 
together.  Pictures  drawn  to  word  accompani- 
ment, that  is,  chalk  talk,  is  therefore  of  highest 
efficiency   in   business. 

The  young  banker  with  a  message  or  with  a 
knack  for  entertainment  soon  holds  an  enviable 
place  among  his   business  associates. 


22  CRAYON  PRESENTATION 

Insurance  men  find  chalk  talk  assists  them  in 
organizing  their  sales  force,  and  the  salesmen 
in  turn  find  pencil  diagraming  of  facts  and 
statistics  bring  home  truths  that  result  in  in- 
creased sales. 


Text  Figure  9 

Dr.  Geo.  S.  Monson  Using  Chalk  Talk  WitKi  Stereopticon  In  Clinical 

Demonstration 

In  the  dental  and  medical  professions,  special- 
ists along  various  lines  use  the  crayon  in  clinical 
demonstrations,  and  in  lectures  before  gatherings 
of  members  of  their  professions.  The  lecturer 
proficient  in  crayon  presentation  always  attracts 
attention  to  the  theories  he  has  to  expound,  and 
is  consequently  in  greater  demand. 

Business  men  engaged  in  manufacturing  and 
merchandising  find  unusual  use  for  chalk  talk  in 


CHALK  TALK   POSSIBILITIES 


organization,  manufacturing,  salesmanship,  and 
advertising.  The  hardware  merchant  with  ability 
in  chalk  talk  makes  a  real  sensation  in  a  con- 
vention of  members  of  the  same  kind  of  business. 


Charles    P.    Plumb,    Farm 
Betterment   Cartoonist 


Dr.   George   S.   Monson, 
Dental   Specialist 


Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

Along  lines  of  agriculture  the  chalk  talk  has 
an  especial  appeal.  There  is  a  place  for  a  lec- 
turer on  farm  betterment  with  the  agricultural 
association  of  every  state  in  the  union. 

In  every  high  school  and  college,  the  chalk 
talk  entertainer  finds  himself  in  demand.  Cov- 
eted places  as  glee  club  entertainers  are  filled 
by  chalk   talk   performers. 

Teachers  in  every  branch  from  kindergarten 
to  university  specialists,  find  the  crayon  helpful, 
Y.  M.  and  Y.  W.  C.  A.  directors,  Sunday  School 
superintendents,  temperance  workers,  evangelists, 
and  ministers,  make  use  of  chalk  talk  to  greatest 
advantage. 

There  is  an  ever-increasing  use  of  crayon  pres- 
entation by  ministers.    Rev.   Branford  Clarke,  of 


24 


CRAYON  PRESENTATION 


the  Pillar  of  Fire  Church  in  Brooklyn,  effectively 
uses  painting  in  oil  to  illustrate  his  sermons. 

Rev.  Phillips  E.  Osgood  of  St.  Mark's  Episcopal 
Church,  of  Minneapolis,  is  a  trained  draftsman, 
using  his  ability  in  cover  designs  for  church  pub- 
lications and  in  illustrating  lesson  series.  He  says 
his  art  training  has  been  most  helpful  in  word 
picturing  in  preaching.  He  uses  chalk  talk  con- 
tinuously in  Sunday  School  work  and  before  Len- 


Text  Figure  10 
Rev.  Branford  Clarke  of  the  Pillar  of  Fire  Cliurcii,  Brooi<lyn 

ten  classes.  In  the  national  convention  of  his 
denomination  he  is  in  demand  for  serious  pictorial 
presentation  before  the  great  children's  rallies. 
His  father.  Rev.  Geo.  E.  Osgood,  for  nearly  half 
a  century  rector  of  Grace  Church  at  Attleboro, 
Mass.,  was  one  of  the  earliest  users  of  the  crayon. 
In  England,  a  drawing,  act  is  quite  as  common 
as  the  song  and  dance.  The  modem  vaudeville 
manager  is  keenly  alive  to  the  interest  in  pictures 


CHALK  TALK   POSSIBILITIES 


25 


drawn  before  an  audience.  This  kind  of  enter- 
tainment calls  for  special  training.  Attractive 
pictures  drawn  to  musical  accompaniment,  with 
decorative  use  of  colored  lights,  calls  for  no 
word    accompaniment.      Clever   drawings    of   his- 


::u^  ■ 


c^^ 


Text  Figure  11 

Edward  Marshall's  Stage  Portraiture  of  Abraham   Lincoln 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

toric  characters  in  bold  black  and  white  contrasts, 
or  against  strong  color  backgrounds  and  under 
special  lightings,  win  the  approbation  of  the 
audience,  and  have  a  tendency  to  raise  the 
standard  of  entertainment  in  the  vaudeville  house 


26 


CRAYON  PRESENTATION 


where  shown.  ,Big  portraits  of  Washington  and 
Lincoln  invariably  call  out  spontaneous  applause. 
Illustrated  monologue,  when  bright  with  pic- 
tures quickly  drawn,  always  is  acceptable.  Short 
cuts  to  unexpected  results  invariably  bring  ap- 
plause. Quick  picturing  of  well-known  comic 
characters  are  hilariously  received.     Sharp,  clean. 


Sid  Smith   Pictures  his   Famous  Character,   Andy  Gump 

black    and    white    outlines    depicting    action    and 
caricaturing  types  are  always   interesting. 

The  picturing  of  an  individual  from  -  their 
number  always  tickles  the  fancy  of  the  audience. 
Especially  is  this  true  when  the  subject  chosen 
is  a  conspicuous  figure  in  a  box  or  front  seat 
plainly  visible  to  the  remainder  of  the  audience. 


CHALK  TALK   POSSIBILITIES 


27 


Picturing  a  striking  hat  or  a  bald  head  or  the 
selection  of  two  young  people  seated  together 
is  the  cause  of  especial  merriment. 


Andy  and   Min  and  Little  Chester  in   Earty  Stages  of  Their  Devel- 
opment  by  Sidney  Smith. 


28  CRAYON  PRESENTATION 

Drawing  of  an  educational  nature  also  appeals. 
Modeling  in  clay  or  plasticine  and  landscape 
presentations  in  harmonious  blending  of  rich 
color  calls  forth  surprised  admiration  of  a  public, 
always  appreciative  of  skill  and  dexterity,  es- 
pecially if  beauty  in  form  or  color  is  presented. 

Set  numbers  with  special  costuming  of  artist 
and  model  work  out  well,  but  call  for  scenic 
effects,  stage  settings  and  ingenious  lighting  de- 
vices. These,  however,  sometimes  bring  high 
prices  and  less  real  skill  on  the  part  of  the  en- 
tertainer  than    actual    drawing. 

With  the  same  time  and  effort  expended  in 
preparation  on  the  part  of  the  performer,  as 
devoted  to  acrobatic  and  musical  numbers,  draw- 
ing, acts  can  be  made  head  liners.  The  trouble 
is  people  of  real  ability  in  drawing  are  not  pro- 
fessional entertainers.  The  professional  enter- 
tainers know  what  the  public  expects  in  the 
way  of  an  act  in  vaudeville,  but  too  often  they 
have  not  given  sufficient  practice  to  the  actual 
drawing.  An  entertainer  with  clever  monologue 
and  pleasing  personality  can  use  the  simplest 
of  drawing  if  each  sketch  carries  a  catchy  idea, 
and  does  not  make  any  pretension  to  artistic 
effects.  Quick  snappy  sketches  worked  in  as  a 
by-play  to  monologue  are  often  most  effective.. 

As  prominent  an  entertainer  as  Edward  Mar- 
shall has  gone  through  an  entire  Orpheum 
season  with  as  simple  stunts  as  the  "soldier,  door, 
dog."  On  other  tours  he  has  used  elaborate  set- 
tings and  large  color  drawings  to  musical 
accompaniments,   with   no   greater   success. 


CHALK   TALK   POSSIBILITIES 


29 


Neysa  McMein,  the  cover  designer  for  popular 
magazines,  made  replicas  of  her  artistic  drawings 
of  pretty  girls  such  as  appear  on  the  Saturday 
Evening  Post,  for  entertainment  of  soldier  audi- 
ences in  France.  She  found  it  possible  to  get 
artistic  effects  with  the  big  inch-square  colored 
crayons.     To  be  sure  of  proportions,  she  planned 


SJPCOTTD 


COMPLETE  srurrp 
AS"  OJsiGiffALLr  z>oiaf 


Text  Figure  12 

Simplest  Chalk  Talk  Stunts— "Soldier-door-dog"  in  Three  Lines 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

her  picture  very  carefully,  spotting  in  location 
of  features  and  proportions  in  advance.  She 
took  the  same  pains  in  preparation  of  these 
hasty  presentations  as  in  drawing  the  pastels 
for  reproduction.  She  says  results  with  the  lec- 
ture   crayon    are    very    satisfactory. 

Professional  entertainment  is  not  necessarily 
the  ultimate  outcome  of  chalk  talk  practice. 
However,  out  of  those  who  are  making  use  of 
it  in  school,  college  and  community  chalk  talk 
are  to  come   the   entertainers   of  the   future.     It 


30 


CRAYON  PRESENTATION 


is  reasonable  that  the  young  fellow  who  goes 
out  with  his  college  glee  club  will  gain  experi- 
ence that  applies  on  the  vaudeville  circuit.  The 
college  boy  with  a  liking  for  drawing,  who  goes 
out  with  the  chautauqua  organization,  is  a  nat- 


Mlss   Neysa   McMefn,  Who   Draws   Replicas  of   Her   Famous  Cover 
Designs    In    Crayon    Presentation 

Reproduced   b\'  courtesy  of   tlie  Federal    .^'chools.   Inc. 

ural  understudy  to  the  "talent,"  who  does  the 
chalk  talk  act.  The  Y.  M.  C.  A.  secretary, 
minister  or  evangelist  who  uses  drawing  acts, 
may  have  a  message  of  permanent  interest,  and 
become  the  big  attraction  of  a  big  chautauqua 
with  good  financial  returns  for  ideas  cleverly 
presented. 


CHALK  TALK 
DEVELOPMENT 

How  Can  I  Most  Quickly  and  Most  In- 
geniously Picture  An  Idea? 

That  Is  the  Problem  In  the  Development 
of  Original  Crayon  Presentation. 

Real  Development  in  Chalk  Talk  Re- 
quires Mental  Drill  as  Well  as  Training  of 
the  Hand  and  Eye. 


Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


Text  Figure  13 
Sunflower 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


Chapter  II 
CHALK  TALK  DEVELOPMENT 

There  is  no  limit  to  the  improvement  that 
can  be  made  by  practice  and  actual  experience 
before  an  audience.  Every  new  attempt  adds 
valuable  experience,  and  the  preparation  for  the 
use  of  each  new  stunt  stimulates  originality  and 
leads  to  further  perfecting  in  this  fascinating  art 
of  pictorial   expression. 


Edward  Marshall's  Good  and   Bad   Egg 

Reproduced  by  courtesy  of  the  ^Federal  Schools,  Inc. 


It  is  not  the  intention  in  this  booklet  to  ar- 
range a  series  of  stunts  nor  to  outline  a  program, 
but  rather  to  indicate  possibilities  along  various 
lines,  that  the  reader  may  select  the  development 
that  interests  him  most.  Detailed  numbers  and 
complete  programs  may  be  obtained  later  that 
can  readily  be  adapted  to  individual  requirements, 
or  the  ambitious  entertainer  may  originate  his 
own  pictures  and  word  accompaniments  following 


34 


CRAYON  PRESENTATION 


/dp 


Sunflower  Development 
Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

suggestions  of  the  Ten  Standard  Stunts  outlined 
in  a  later  chapter. 

With  a  real  desire  to  make  use  of  simpiy- 
drawn  pictures,  material  is  available  for  an 
immediate  start.  Anyone  can  show  the  ''soldier 
going  through  a  door  followed  by  a  dog,  in 
three  lines."  The  simple  expression  outlines  of 
the  "good  and  bad  egg"  number  or  the  "right 
angle  introduction"  can  be  easily  acquired  by 
the  novice  in  drawing.  Construction  of  a  figure 
from  an  oval,  a  triangle,  a  curve,  an  angle  and 


CHALK  TALK  DEVELOPMENT 


25 


Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

two  parallel  lines,  as  in  Bengough's  operatic 
singer,  is  easy  of  accomplishment.  John  H. 
Patterson's  match-stick  men  can  be  made  to 
picture  any  situation.  .Note  how  Mr.  Bengough 
illustrates  a  "four-act  drama  depicting  the  hero 
in  a  single  line." 

An  audience  does  not  demand  a  work  of  art 
^om  a  chalk  talker.  It  cares  much  more  for  a 
quick  succession  of  ideas  plainly  presented  in  bold 
simple  lines.  The  two  faces  with  a  single  profile 
is  capable  of  a  hundred  variations.  Faces  from 
letters  of  the  alphabet,  animals  and  people  devel- 


86 


CRAYON  PRESENTATION 


oped  from  words,  transformations  from  fruit  or 
vegetables  to  the  person  or  creature  who  devours 
them,  are  the  simplest  of  entertainment  stunts, 
and  yet  the  most  effective. 

It  takes  a  mechanical  turn  of  mind  rather  than 
an  artistic  temperament  to  develop  a  turn-over 
number  like  the  Soldier-Professor;  a  punster 
rather  than  a  cartoonist  to  work   out  plays   on 


Two  Profiles  In  Single  Outline 

Reproduced  by  courtesy  of  the  Federal   Schools,  Inc. 

words  like  the  Pear-Parent  creation,  and  in- 
genuity rather  than  art  to  create  ambidextrous 
drawings  like  the  loving  cup. 

By  trying  over  and  over,  these  things  grow 
easy.  One  becomes  expert  before  he  is  scarcely 
aware  of  it.  By  actual  performance,  new  ideas 
are  suggested.  First  success  stimulates  new 
interest;  soon  one  is  relying  on  things  of  his  own 
invention  rather  than  stereotyped  numbers  which 
paved  the  way  to  first  success,  and  so  without 
realizing  just  how  it  came  about,  he  is  soon  an 
original  producer. 


CHALK  TALK  DEVELOPMENT 


37 


Practical   development  in  use  of  the   crayon  is 
well  worth  the  effort.     Make  the  start  with  assur- 


Expresslon  Studies 
Eeproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

ance  that  a  little  drawing  is  appreciated.  The 
speaker  with  a  crayon  is  always  welcome.  The 
entertainer    with    a    pictured    verse    or    story    is 


38  CRAYON  PRESENTATION 

always  in  demand,  and  the  educator  who  visual- 
izes truths  becomes  a  leader  in  his  profession. 

This  is  no  theory  or  supposition  of  possibilities, 
but  a  demonstrated  fact.  It  is  a  new  develop- 
ment in  education.  It  not  only  can  be  done,  but 
it  has  been  accomplished;  not  once  or  twice,  here 


Five  Dots  Placed  at   Random  Progressive    Development 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

and  there,  but  continuously  everywhere.  Specific 
examples  of  these  successes  are  given  later. 

How  shall  the  beginning  chalk  talker  prepare 
himself  for  an  early  appearance? 

Outlined  in  these  pages  are  ten  standard  stunts, 
examples  of  ten  kinds  of  drawings  that  it  is  pos- 
sible for  the  beginner  to  quickly  learn  to  do  with 
sufficient  skill  to  entertain  an  audience. 


CHALK  TALK  DEVELOPMENT 


39 


These  are  not  offered  as  a  consecutive  set  of 
numbers  for  a  finished  program,  but  are  given  as 
examples  of  the  variety  offered  in  basic  chalk 
talk  stunts.  If  they  are  to  be  grouped  for  crayon 
presentation,  they  must  be  referred  to  as  a  sym- 
posium of  differing  examples  of  transitions,  devel- 


^i^ 


Five   Dots   Development 
Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

opments,  evolutions,  etc.  With  this  kind  of  an 
explanation,  they  might  be  used  in  entertainment. 
A  better  idea,  however,  would  be  to  take  one 
line  and  develop  it  with  original  creations.  For 
instance,  work  out  the  general  plan  of  creating 
people  and  animals  from  the  fruits  and  vegetables 
which  go  to  make  up  their  chief  article  of  diet. 


40 


CRAYON  PRESENTATION 


Or  develop  match-stick  men,  geometric  figures, 
and  transformation  of  words  and  letters  into 
faces,  people  and  animals. 

A  series  of  quick  transformations,  turn-over 
numbers,  and  evolutions  founded  upon  the  ele- 
ment of  surprise,  is  another  possibility. 

A  sermon  might  be  preached  on  the  experiences 
of'  the  good  and  the  bad  egg,  referring  to  the 
tendency  to  sin  in  following  a  line  with  a  down- 
ward tendency  as  exemplified  in  the  bad  egg,  and 


John  M.  Baer  Lemon  Development 

the  Uplifting  and  cheerful  expression  that  follows 
the  upward  turn  toward  better  things  pictured  in 
the  smile  of  the  good  egg.  For  diagramatic 
presentation,  the  old  proverb  "Straight  is  the  line 
of  duty,  curved  is  the  line  of  beauty,"  has  possi- 
bilities, because  it  is  easy  to  picture  with  your 
match-stick  men  the  remainder  of  the  adage, 
"Follow  the  one  and  you  shall  see  the  other  fol- 
lowing after  thee."  Perhaps,  however,  no  single 
idea  is  more  often  presented,  than  the  evolution 
of  the  pretty  girl  from  the  egg,  as  in  the  evolution 
of  the  chicken. 


CHALK  TALK  DEVELOPMENT  41 

The  foregoing  is  offered  in  all  seriousness,  for 
the  purpose  of  stimulating  original  development 
on  the  part  of  the  reader.  It  is  quite  within  the 
range  of  possibilities  that  though  he  follow  not 
a  one  of  the  detailed  drawing  acts  of  this  book, 


Ernest  Fielding  Chicl<en   Development 

Reproduced  by  courtesy  of  the  Federal   Schools,  Inc. 

they  may  suggest  something  else  entirely  new 
and  different. 

Real  development  in  chalk  talk  means  mental 
drill  as  well  as  training  of  the  hand  and  eye. 
How  can  I  most  quickly,  most  ingeniously  picture 
an  idea? 

That  is  the  problem,  rather  than  how  much  art 
can  I  display. 

What  method  shall  I  pursue  to  keep  the  audi- 
ence thinking  along  one  line  while  I  am  develop- 
ing a  totally  different  conclusion  to  the  picture 
that  I  am  drawing  before  them? 

Some  new  answer  to  questions  like  these  may 
make  its  user  famous. 

How  can  a  few  colors  be  combined  to  suggest 
a  landscape  or  marine? 

With  how  few  black  marks  can  a  portrait  or 
caricature  be  presented? 


42 


CRAYON  PRESENTATION 


What  blending  of  tones,  outlining  of  form  or 
picturing  of  facts  is  going  to  interest,  instruct  or 
amuse  ? 

These  are  the  questions  that  the  thinker  along 
new  lines  in  crayon  presentation  must  answer. 

Development  in  chalk  talk  is  not  merely  a  ques- 
tion of  training  the  eye  and  hand,  but  of  thinking 
out  the  plot  and  planning  the  act  to  be  presented 
in  picture  language. 


John  M.  Baer  Egg-head  Development 

Crudeness  of  execution  can  always  be  forgiven 
if  there  is  a  definite  plan  back  of  it.  Practice 
will  rapidly  smoothen  out  the  crudities  of  draw- 
ing, but  no  amount  of  good  drawing  will  hold  an 
audience  for  long  if  there  be  no  point  nor  plot 
underlying  the  act. 

Brightness  and  brevity  are  first  requisites  of 
chalk  talk.  Following,  successful  first  appear- 
ances, attempts  may  be  made  in  the  more  pre- 
tentious phases  of  the  art  calling  for  more  skill 
in  picture  making.     It  is  possible  to  make  real 


CHALK  TALK  DEVELOPMENT  43 

pictures,  while  the  audience  waits  and  watches, 
but  it  must  be  borne  in  mind  that  the  audience  is 
not  greatly  interested  in  merely  watching  one 
draw.  It  is  in  the  result  that  the  interest  is  cen- 
tered. The  wise  performer  will  not  too  long 
postpone  the  final  consummation.  No  result,, 
however  striking,  warrants  the  risk  of  tiring  an 


S.  S.   Henry  Landscape 

audience.  A  landscape  or  marine,  a  striking  por- 
trayal of  a  well-known  character,  or  a  telling  car- 
toon may  be  incorporated  at  some  one  point  in 
a  program,  but  a  series  of  such  acts,  taking  con- 
siderable time  in  their  development,  cannot  fail  to 
weary  an  audience. 

None  should  be  attempted  until  after  long  prac- 
tice  has  made   facility   in   execution   certain.     A 


44 


CRAYON  PRESENTATION 


part  of  this  practice  should  be  with  the  idea  of 
concealing  final  results  to  as  great  an  extent  as 
possible.  When  an  audience  has  a  definite  idea 
of  what  the  finished  picture  is  to  be,  it  loses  in- 
terest. Interest  may  be  stimulated  by  leaving 
the  crowning  effect  or  climax  until  the  last. 

Practice  of  details  is  of  greatest  importance. 
Only  by  practice  can  the  chalk  talk  performer 
have  the  requisite  assurance  before  an  audience. 


Five  Dot  Action   Study  by  Ted  Nelson 


Practice    Exercises 
Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


Edward   Marshari  Action   Study 
Reproduced  by  courtesy  of  the  Fe-ieral  Schools,  Inc. 


Action    Development   by    Edward    Marshall 


f;f^Z^i 


Ted    Nelson    Five-dot    Practice    Exercises 
Reproduced  by  courtesy  of  the  Federal  Schools,  In\. 


TUW,  Ri^HTANQLE 


G 


CHALKTALK 
PRACTICE 


How  Much  Practice  Am  I  Willing  to  Put 
On  a  Few  Selected  Stunts? 

On  the  Answer  to  This  Question  Depends 
the  Beginning  Chalk  Talker's  Successful 
"First  Appearance." 

"Well  Begun  Is  Half  Done"-The  Right 
Angle  Introduction  Starts  One  Right. 


V 


/\ 


Chapter  III 

CHALK    TALK    PRACTICE 

There  is  so  much  of  interest  in  the  practice  of 
the  outlines  of  idea-expressing  pictures,  that  we 
may  well  consider  how  best  to  go  about  this 
preparation  for  chalk  talk. 


Text  Figure  14 
The   Practice   Board 

Practice  on  rough  sheets  of  print  paper  or 
American  White,  held  upright  on  a  smooth  draw- 
ing surface,  the  same  proportion  as  you  are  to 
use  in  public  presentation.  A  piece  of  composi- 
tion board,  12x18,  is  ideal  for  the  purpose.  (See 
Fig.  14.)  The  space  around  a  picture  has  as 
much  to  do  with  placement  as  the  picture  itself. 
The  proper  location  of  drawings  on  the  sheet 
makes  for  the  symmetrical  effect  of  the  finished 


50 


CRAYON  PRESENTATION 


result.  Be  sure  of  this  in  some  way.  The  inter- 
secting lines  may  be  drawn  in  practice  to  help 
locate  the  two  faces  of  the  Right  Angle  Intro- 
duction. 


M 

\   c 

CLOOf^ 

Y 

s 

)? 

/ 

% 

\ 

Text  Figure  15 
Figure  Placement 

It  is  easy  to  think  of  the  noses  of  the  two  faces, 
which  constitute  this  number,  as  the  central  points 
on  the  two  halves  of  the  sheet.  Some  such  fixing 
of  points,  as  indicated  in  Figure  15,  in  each  pic- 
ture drawn  enables  the  chalk  talk  performer  to 
fix  in  mind  proportions  and  placement.  Some 
chalk  talkers  faintly  trace  what  they  are  to  draw 
on  the  sheets  in  advance,  or  indicate  by  dots 
location  of  essential  proportions.  It  is  not  wise 
to  form  this  habit. 

It  is  not  difficult  to  memorize  word  accompani- 
ment and  picture  outlines  together.  The  act  of 
drawing  and  reciting  simultaneously  makes  each 
easier.  Once  fixed  in  mind,  the  combination  is 
not  easily  forgotten. 


CHALK  TALK  PRACTICE 


u 


The  memory  should  not  be  taxed  with  details. 
The  big  forms  and  masses  should  be  the  main 
study.  In  drawing  the  two  faces  representing 
Joy  and  Gloom,  let  us  start  at  A,  Text  Figure  16, 


Text  Figure  16 
Right    and    Wrong    Angle    Practice    Exercises 

where  the  crayon  first  comes  in  contact  with  the 
paper  in  the  first  drawing  of  the  Right-Angle  In- 
troduction. Note  the  distance  to  the  edge  of  the 
paper,  also  to  the  top,  being  sure  to  leave  room 
for  the  radiating  lines  about  the  head  of  the  joy- 
ful countenance  and  the  gloom  cloud  over  the 
Wronor  Angle  countenance. 

The  first  line  in  face  No.  1  is  from  A  to  C.  The 
point  C  is  just  below  the  center  of  the  left  half 
of  the  sheet.  The  Right  Angle  is  completed  by 
extending  the  line  to  B,  without  raising  crayon 
from  paper.  The  Wrong  Angle  is  next  drawn 
in  one  stroke  from  D  to  F,  then  to  E.  The  point 
F  is  in  the  center  of  the  right  half  of  sheet.  In 
each  picture  produced,  the  final  result  is  effected 


52  CRAYON  PRESENTATION 

by   the   first   point  of   contact   of   crayon   to   the 
paper. 

A  good  practice  exercise  preparatory  to  using 
the  Right  Angle  Introduction  is  shown  in  Figure 
17.  It  is  a  good  plan  to  think  of  the  smile  when 
drawing  the  up-turned  angle  and  of  a  scowl  when 
drawing  the  wrong  angle.  Addition  of  eyebrows 
and  cheek  lines  as  shown  in  Figure  18,  heighten 
the  smiling  and  scowling  expressions.     Outlining 


Vx^  x\  v/  ^\  x^  /v 

^^  /''^  N/ •^ '>^^  x\ 
N/  XN  N/  y^  S/  X^ 


Text  Figure  17 
Smile   and   Scowl   Practice   Exercises 

of  heads  complete  the  two  expression  studies. 
The  conclusion  arrived  at  is  self  evident.  Good 
cheer  follows  in  the  wake  of  the  right  angle, 
while  gloom  overshadows  the  wrong  angle. 

Plays  on  words  may  be  made  in  connection 
with  application  of  color.  Reference  can  be  made 
to  the  chalk  talk  performance  brightening  up  as 
yellow  hair  is  drawn  on  the  right-angle  face.  As 
red  is  applied  to  cheeks,  comment  may  be  made 
about  the  affair  taking  on  an  entirely  different 
complexioru    With  shading  of  the  gloom  cloud  in 


CHALK  TALK  PRACTICE 


blue,  it  is  natural  to  say  everyone  is  blue  when 
old  wrong  angle  puts  in  an  appearance.  A  run- 
ning comment  of  this  nature,  and  application  of 
colors  with  word  accompaniment  adds  greatly  to 
the  picture  presentation. 


0"=^         « 


'A^ 


^cJZ-^ 


Text  Figure  18 
"T  Eyebrow  and  Nose  Line  Expression  Studies 

In  a  similar  manner  to  the  preparation  of  the 
right-angle  introduction  there  can  be  worked  up 
picture  and  patter  for  a  series  of  consecutive 
stunts.  It  is  usually  most  effective  to  have  at 
least  three  of  a  general  nature  in  sequence.  In 
Chapter  VII  from  the  ten  standard  stunts,  may 
be  selected  the  material  for  several  different  pro- 
grams.    In  preparation  for  public  performance,  it 


Julian   Brazelton   Illustrating   "Keep  Away   From  Tobacco." 

Reproduced  by  courtesy  of  the  Federal  Schools,   Inc. 

is  well  to  drill  on  related  stunts,  one  after  the 
other,  in  the  order  they  are  to  come  in  the  pro- 
gram being  rehearsed. 

If  this  is  made  up  of  puns  and  plays  on  words, 
simple  evolutions  from  letters  and  words,  pictures 
developed  from  geometric  figures,  they  should  be 


64 


CRAYON  PRESENTATION 


practiced  upon  in  groups  of  stunts  of  similar 
nature.  These  groups  constitute  parts  which  go 
to  make  up  a  complete  program. 

The  most  quoted  stunt  is  the  very  simple  one 
of  the  soldier  going  through  a  door  followed  by 
a  dog,  in  three  lines,  see  Figure  19.  This  is  a 
stunt  most  everyone  has  seen,  but  it  is  accepted 


Text  Figure  19 
Soldier-door-dog   Stunt 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

as  a  traditional  number.  Thomas  Nast  used  it 
after  the  Civil  War,  Edward  Marshall  after  the 
World  War,  and  with  the  establishment  of  world 
peace  it  is  equally  applicable.  It  may  be  used  as 
a  chalk  talk  stunt  out  of  antiquity,  and  followed 
by  a  few  equally  simple  numbers. 

The  practice  in  drawing  these  simple  outlines 
should  be  accompanied  by  recitation  aloud  of  the 
words  explaining  them.  In  no  other  manner  can 
a  beginning  performer  hope  to  be  at  ease  in  the 


CHALK  TALK  PRACTICE 


56 


double   concentration   required   in   simultaneously 
speaking  and  drawing. 

Only  when  the  patter  runs  glibly  from,  the 
tongue  without  mental  effort  can  the  artist  con- 
centrate his  attention  on  the  drawing  of  the  pic- 
ture. While  it  is  good  practice  to  study  out 
little  drawing  acts  on  a  pad  with  a  soft  pencil, 
and  also  to  recite  the  patter  aloud  while  walking, 
the  rehearsal  that  really  counts  is  the  simultaneous 


Hollis  Clark  in    Holiday   CtiaJk   Talk 
Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

drawing  and  reciting  of  the  exact  word  and  pic- 
ture combination  to  be  used  before  the  audience. 
This  cannot  be  done  too  many  times,  and  every 
time  the  effort  should  be  to  further  simplify  the 
number. 

In  chalk  talk  it  is  the  idea  that  counts.  Good 
ideas  quickly  depicted  with  the  fewest  possible 
lines  insure  a  successful  first  performance.  In 
the  right  angle  introduction,  for  example,  the 
success  of  the  number  depends  entirely  upon 
elimination  of  every  word  and  line  possible.  It 
will  be  found  by  the  beginning  entertainer  that 
he  has  no  time  for  elaborating  the  faces  in  public, 
so  in  practice  he  must  not  do  so,  or  he  will  find 
himself  involved  in  a  long  drawn-out  act  before 


56  CRAYON  PRESENTATION 

an  audience  whose  chief  interest  is  the  result,  not 
the  rendition.  Confidence,  too,  comes  with  fam- 
iliarity with  the  act  to  be  performed. 

A  gymnast  in  vaudeville,  a  sleight-of-hand  en- 
tertainer,  or  a  vaudeville  performer  of  any  kind 
takes  no  chances.  Skill  of  hand,  sureness  of  eye, 
and  deftness  of  muscle  come  by  practice.  Talent, 
personality  and  ability  are  discounted  by  careful 
preparation. 


Sidney  Smith's  Chester  in  Crayon  Outline 

Every  audience  expects  to  be  bored  during  the 
introductory  remarks.  The  entertainer  who  really 
does  something  first  crack  out  of  the  box  is  at 
once  appreciated.  This  has  a  reaction  on  the 
performer.  Once  he  gets  a  laugh,  a  hand  of  ap- 
plause or  a  ripple  of  merriment,  he  gains  con- 
fidence in  himself.  The  audience  realizes  its  part 
in  the  game  being  played,  and  comes  back  again 
and  again  with  applause  at  every  opportunity,  all 
because  of  a  first  hit  made  through  a  careful 
working  out  of  the  stunts  in  practice. 


CHALK  TALK 
EQUIPMENT 

A  Two-board  Outfit  Leaves  One  Draw- 
ing Exposed  While  a  Second  Is  Being  Made^ 

Have  Paper  Fit  Board  Snugly,  So  It  Can 
Be  Stretched  Smooth  for  the  Drawing  Act, 
and  Used  Sheets  Quickly  Removed. 


Supports  for  Practice  Board 

In  chalk  talk  practice,  a  drawing  board  held  firmly  in  an  upright 
position  is  an  essential. 

The  plain  supports,  Illustrated  above,  allow  room  for  crayoj. 
beneath  and  in  front  of  drawing  surface,  making  colors  readily 
accessible  in  practice. 

Reproduced  by  courtesy  of  the  'Federal  Schools,  Inc. 


Foldj 
ConPfiicrvf 


PERPENDICULAR    SUPPORT 


Chapter  IV 

CHALK    TALK     PAPERS,     CRAYON    AND 
EQUIPMENT. 

To  the  uninitiated,  information  on  necessary 
materials  and  equipment  for  drawing  before  an 
audience  is  of  first  importance. 

Four  sizes  of  crayon  are  available  for  chalk 
talk.     First  the   small  round   pastel  sticks,  with 


Text  Figure  20 
Bart  Tray  System 

wax  in  their  composition;  second,  the  half-inch 
square  sticks,  three  inches  long;  third,  the  inch- 
square  sticks,  the  same  length  and  lastly,  the 
two-inch  square  blocks,  six  inches  long. 

The  small  crayons  are  good  for  preliminary 
practice.  They  come  in  boxes  of  various  assort- 
ments and  are  valuable  for  experimentation  and 
preliminary  practice   on   small  sheets. 

The  half-inch  square  sticks  are  preferred  by 
many  vaudeville  performers  where  clean-cut  out- 
lines are  the  requirement,  rather  than  tones  and 


60  CRAYON  PRESENTATION 

masses  of  color.  Cartoonists  and  sketch  men 
who  find  the  inch-square  size  cumbersome  get 
good  results  with  the  little  half-inch  size.  One 
reason  for  this  is  that  such  artists  are  used  to 
drawing  with  a  point. 

The  inch-square  sticks  are  more  commonly 
used.  They  do  not  break  or  crumble  under 
pressure  and  are  admirably  adapted  to  quickly 
laying  on  tones  of  color.  The  lines  drawn  with 
the  end  of  these  big  sticks  are  not  too  broad 
for  best  view  of  an  audience  somewhat  removed 
from  the  picture. 

With  familiarity  in  their  use  the  crayon  artist 
discovers  that  he  can  break-in  one  of  these  larger 
sticks  to  his  individual  use.  He  uses  the  broad 
flat  side  of  the  stick  in  laying  on  tone,  the  flat 
end  for  wide  marks  of  black  or  solid  color  and  for 
thinner  lines,  the  tapering  point  obtained  after  he 
has  worn  the  stick  down  to  a  point.  Sticks 
thus  worn  into  use  may  be  retained  for  the  par- 
ticular stunt  for  which  they  have  been  prepared. 
The  sight  of  each  one  of  them  suggests  the  use 
to  which  it  is  to  be  put. 

Crayon  in  this  size  seems  to  gain  a  more  com- 
pact strength  in  the  blocky  forms  they  take  on 
with  wear  and  certainly  do  not  break  under 
pressure  as  do  the  more  brittle  half-inch  square 
pieces,  which  seem  to  be  more  porous  on  their 
surface.  Even  when  worn  to  half-inch  size  with 
cylindrical  form  they  retain  strength  and  firmness 
which  cause  them  to  be  treasured  by  their  users. 

The  two-inch  square  blocks  of  color  are  used 
by   Chautauqua   performers   who    draw   on   large 


CHALK  TALK  EQUIPMENT 


61 


expanses  of  heavy  paper  in  the  big  tents  and 
pavilions,  where  very  large  audiences  congregate. 
For    the    use    in    ordinary    chalk    talk    they    are 


ATTACH  Your 
Board  to  anv 
Table  with 

QUILTiNq  FRAME 
CLAr^PS. 


The        Support-s      FOi.DE.O 

Text   Figure  22 
Construction    of   Plain    Supports    and    Stationary    Board 

Reproduced  hy  courtesy  of  the  Federal   Schools,   Inc. 

cumbersome  and  may  be  left  out  of  consideration, 
unless  the  artist  has  a  special  stunt  calling  for 
quick  application  of  color  over  large  surface. 


62 


CRAYON  PRESENTATION 


Crayon  may  be  very  conveniently  arranged  in 
a  set  of  trays,  with  one  tray  for  each  stunt,  for 
rapid-fire  work  before  an  audience.  Each  tray 
is  labeled  and  contains  just  the  colors  needed 
for  the  stunt  at  hand.     The  tray  for  the  Right 


Text  Figure  23 
The    Turn-over    Board    and    Combination    Supports 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

Angle  stunt  is  shown  in  Fig.  20.  The  blue 
stick  holds  the  first  compartment  on  the  left 
with  the  flesh  tone  for  faces,  orange  for  hair  of 
smiling  face,  white  for  high  lighting  and  red  for 
cheeks,  in  order  named.  In  case  of  blue  and 
green,   both   being   used   in   the   same   tray,   blue 


CHALK  TALK  EQUIPMENT  6| 

should  be  in  a  compartment  to  the  left  and  green 
to  the  right  to  avoid  confusion. 

The  trays  are  simply  partitioned  boxes.  The 
name  of  the  stunt  should  be  printed  on  the  front 
of  the  box  and  the  color  of  each  crayon  on  the 
bottom  of  the  compartment  devoted  to  it.  The 
various  trays  of  a  program  may  be  stacked  in  a 
double  pile  in  a  box  as  shown  at  left  of  page  57. 


Text  Figure  24 
Frank  Wing  Using  Combination  Supports 

The  tray  contsiining  crayon  for  stunt  number 
1,  the  Right  Angle  Introduction  for  instance,  is 
on  the  top  of  first  pile  to  the  left,  the  tray  for 
last  stunt  or  final  numbers  is  at  bottom  of  the 
last  pile  to  right.  The  intervening  numbers  of 
the  program  will  be  represented  by  trays  in  reg- 
ular order  in  the  box,  from  left  to  right,  back 
and  forth  on  the  two  piles. 

By  this   arrangement  there   is  never   any   con- 
fusion  as   to   what   comes   next.      All   the   colors 


64 


CRAYON  PRESENTATION 


needed  for  a  program  or  set  of  stunts  are  packed 
in  their  place  ready  for  use  as  needed. 

The  working  out  of  a  program  becomes  in  this 
way  as  nearly  automatic  as  possible.  A  rehearsal 
may  be  gone  through  just  before  a  performance 
by  simply  handling  the  trays  one  after  another 


Text  Figure  25 
Bart  Table   Stand    in    Use   by    Illustrator 

and  wiping  off  the  colors  with  a  soft  cloth,  that 
they  may  be  clean  and  ready  for  use. 

This  inspection  of  colors  reminds  the  performer 
of  the  order  of  stunts  and  the  detail  of  their  ex- 
ecution. The  handling  of  the  crayon  recalls  the 
use  to  be  made  of  them  without  mental  efforl". 
The  act  presents  itself  to  the  vision  of  the  per- 
former, the  colors  for  each  number  are  in  place 


CHALK  TALK  EQUIPMENT  65 

and   in   mind   to   be   picked   up    automatically   in 
public  performance. 

A  stick  of  black  lays  at  hand  outside  the  tray. 
The  box  containing  trays  should  be  on  a  small 
table  to  the  left  of  drawing  board  where  each  tray 
as  needed  may  be  quickly  picked  up  and  placed 
ready   for  next   act. 


Text  Figure  26 
Lawrence   Moen   Using  Table  Stand  in  Crayon  Presentation 

The  removal  of  the  used  tray  and  the  stepping 
to  one  side  for  the  new  one  gives  the  audience 
an  unobstructed  view  of  the  completed  drawing 
before  it  is  removed.  This  act  of  changing  of 
trays  between  numbers  gives  opportunity  for 
applause.     It  is  good   "stage   business." 

In  practice  and  performance  of  chalk  talk  close 
proximity  of  crayon  to  the  drawing  board  is  of 
first  importance.     A  small  table  placed  to  left  o£ 


66 


CRAYON  PRESENTATION 


the  board  is  a  necessity  with  whatever  kind  of 
easel,  table  or  drawing  board  support  adopted. 
This   is   your   base    of   supplies.      In    case    of   a 


Text  Figure  27 
Clare  Briggs  Using  Bart  Easel 

board  supported  above  an  ordinary  table  as  in 
Figure  21,  you  have  a  place  for  crayons  just 
beneath  your  board.  With  this  arrangement  the 
performer  transfers  the  tray  of  crayons  for  the 
next  number  from  the  tray  system  over  to  a 
position  directly  under  his  drawing  board  where 
he   can   reach   them   quickly   as  needed.      When 


CHALK  TALK  EQUIPMENT  67 

the  number  is  completed  he  replaces  the  tray  of 
used  crayon  on  the  small  table  holding  the  tray 
system  and  selects  the  tray  for  the  next  number 
of  his  program.     It  is  well  in  preparation  for  a 


Text   Figure  28 
Construction  of  Bart  Combination   Drawing  Table 

program  to  work  in  this  manner  keeping  the 
crayon  for  each  stunt  in  a  separate  tray.  The 
result  is  an  automatic  development  of  a  set  pro- 
gram that  leaves  no  uncertainty  when  before  an 
audience. 

The  detail  of  the  board  supports  for  this  kind 
of  equipment  is  shown  in  Figure  22.  This  sup- 
port and  the  one  for  a  revolving  boaKd,  Figure 
23,    has   been   patented   by    the   author,    but   the 


68 


CRAYON  PRESENTATION 


privilege  of  constructing  one  for  individual  use 
of  the  reader  is  cheerfully  extended.  They  are 
technically  referred  to  as  plain  and  combination 
supports.  By  reversing  the  revolving  supports 
on  table  they  can  be  used  for  illustrative  drawing 
as  shown  in  Figure  24. 

The  combination  feature  provides  not  only  this 
possibility,  but  also  the  locking  in  place  of  the 
crossbar  into  the  uprights  of  Figure  23,  providing 
the  means  of  reversing  the  board  for  trick  draw- 
ings and  turn-over  pictures. 


Text  Figure  29  Text  Figure  30 

Ray  Handy  Using  Roll   Board  in  Chalk  Talk  Entertainment 


In  spite  of  the  fact  that  the  author  has  devised 
and  patented  collapsible  easels  and  various 
devices  for  combined  use  in  chalk-talk  and 
illustrating,  the  old  "plain  supports"  still  fill  the 
chalk  talk  requirement  most  satisfactorily.  They 
are  recommended  for  early  use  in  practice  and 
public  presentation.     A  little  familiarity  with  the 


CHALK  TALK  EQUIPMENT  69 

use  of  carpenter's  tools  will  enable  the  beginning" 
artist  to  set  up  his  own  outfit  for  immediate  use. 
It  is  important  that  the  beginning  performer 
work  out  for  himself  or  secure  a  practical  board 
support   to    be    used   in   practice    as    well    as    in 


Simple   Shaded    Lighting   for   Chalk   Talk    Board 

public  performance,  and  always  make  use  of 
crayon  paper  and  equipment  in  practice  just  as 
he  expects  to  in  performance.  By  doing  this  he 
does  mechanically  many  acts  that  would  other- 
wise distract  attention  from  drawing  or  speaking. 
Board  sizes  should  be  made  to  conform  to   the 


70 


CRAYON  PRESENTATION 


Standard  size  of  print  paper;  24x36,  30x44  and 
36x48,  so  that  the  edge  of  the  paper  comes  just 
to  the  edge  of  the  board  allowing  free  removal  of 
used  sheets.  Clamps  and  clips  recommended  will 
not  attach  paper  and  stretch  it  tightly  across  the 
drawing  board  unless  the  paper  exactly  fits  the 
board.     When   thus   arrane:ed   there   is   no   hitch 


Text  Figure  31 
Roll  Board  Construction 

when  working  before  an  audience,  especially  if 
the  performer  has  used  the  same  crayon  and 
equipment  in  practicing  for  the  performance. 

By  use  of  both  plain  and  combination  supports 
a  two-board  equipment  is  provided  (see  page  57). 
The  large  board  should  be  36x48  and  may  be 
arranged  very  satisfactorily  with  a  piece  of 
"compo"  board  from  the  local  lumber  yard.  The 
smaller   board    should   be    24x36.      Reference   to 


CHALK  TALK  EQUIPMENT 


71 


Figures  22  and  23  shows  that  the  large  board  is 
fastened  in  place  by  the  simple  device  of  screwing 
up  of  step-bolts  at  the  bottom  and  quilting-frame 


Viiiit.ifi'f 


Text  Figure  32 
Construction  of  Bart  Table  Stand 

clamps  at  the  bottom,  while  the  small  board  is 
swiveled  in  place  by  a  bolt  and  thumb-nut,  ob- 
tainable at  any  hardware  store.  Because  of  this 
swiveling  arrangement  it  is  best  to  use  a  firm 
but  thin  drawing  board  for  the  smaller  revolving 
equipment.  To  allow  the  board  to  turn  over 
freely,  the  paper  should  be  attached  by  means 
of  spring  clips  or  clamps  that  do  not  extend 
beyond  the  back  surface  of  the  drawing  board 
as  such  projection  interferes  with  the  revolution, 
of  the  board. 


72 


CRAYON  PRESENTATION 


In  Figure  25  is  shown  the  Bart  table  stand 
which  combines  the  use  for  chalk  talk  with  the 
requirement  of  a  swiveling  board  support  for 
commercial  design  and  illustrative  draftsmanship. 
A  board  support  of  this  nature  is  in  general  use 


Text  Figure  33 
Combination   Drawing  Table   in    Use   in    lliustration 

by  professional  artists.  While-  there  are  patents 
on  the  upright  locking  device  and  the  system  of 
notches  by  means  of  which  the  board  is  held  at 
varying  angles  there  is  nothing  to  prevent  the 
reader  from  constructing,   for  his   own  use,   one 


CHALK  TALK  EQUIPMENT 


73 


of  these  simple  triangular  hinged  supports,  so 
valuable  in  any  kind  of  drawing.  Figure  32 
shows  this  form  of  support  in  chalk  talk  use. 

For  the  entertainer  or  artist  appearing  con- 
tinuously in  entertainment,  the  easel  which  sets 
up  directly  on  the  floor  after  the  plan  of  Figure 
27  is  most  convenient  as  it  is  usually  difficult  to 
quickly  find  a  table  to  which  to  attach  supports 
on  arrival  in  the  ordinary  places  of  entertain, 
ment. 


Text   Figure  34 
Ray   Handy   in    Duluth   Chalk   Talk 

A  combination  equipment  is  available,  covering 
all  the  above  requirements  in  the  Bart  table, 
shown  in  Figure  28.  While  not  collapsible  it 
folds  for  carrying  and  is  thus  available  for  local 
chalk  talk  uses. 

Chalk  talk  paper  commonly  used  is  either 
white  or  gray.  The  gray  tint  allows  of  use  of 
lighter  colors  of  chalk.  It  has  a  rough  surface 
and  may  be  worked  upon  for  combination  of 
colors    and   blending    effects   for    more    elaborate 


74 


CRAYON  PRESENTATION 


crayon  presentation.  Packard  and  other  enter- 
tainers, however,  find  shade  cloth,  such  as  roll 
curtains  are  made  from,  an  excellent  substitute. 
This  shade  cloth  is  treated  to  a  coat  of  whiting, 
after  which  powdered  lamp  black  is  rubbed  into 


Text  Figure  35 
Detail  of  Lighting  with   Extension   Cord 

the  surface  with  a  school  eraser  until  it  becomes 
the  gray  tone  desired.  Whiting  and  lamp  black 
may  be  purchased  in  pound  containers  at  any 
paint  supply  store.  The  shade  cloth  thus  treated 
may  be  used  over  and  over  again  and  recoated 
as  needed.  It  provides  an  excellent  drawing  sur- 
face for  all  numbers  requiring  dark  backgrounds 
and  blending  and  modeling  of  colors  in  picture 
presentation.  A  second  drawing  may  be  made 
by  erasing  the  first  just  as  in  black-board  work. 


CHALK  TALK  EQUIPMENT  75 

Tooth  print,  a  rough  surface  newspaper  print 
paper,  is  commonly  used  for  practice  and  public 
performance.  Its  lightness  of  weight  not  only 
reduces  the  cost  of  individual  sheets  but  makes 
possible  easy  conveyance  of  the  greatest  number 
of  pieces. 

In  practice  use  may  be  made  of  both  sides  of 
the  sheet  by  facing  used  sides  together,  as  re- 
moved from  the  drawing  board.  By  neatly  piling 
up  in  this  way,  so  that  the  used  sheets  can  be 
replaced  on  the  board,  a  second  use  can  be  made 
of  all  practice  paper.  Only  every  other  sheet 
will  be  drawn  upon  the  second  time  through,  but 
by  keeping  up  the  process  of  facing  used  sides 
together  as  the  sheets  are  removed  from  the 
board  there  will  be  no  drawing  surface  wasted. 
It  takes  time  to  care  for  paper  in  this  way  in 
practice,  but  the  economy  makes  it  worth  while 
in  these  times  of  high  cost  of  paper. 

Sheets  may  be  fastened  to  the  board  at  the 
top  by  means  of  ordinary  quilting-frame  clamps 
and  with  large  spring  clips  at  the  bottom,  as 
illustrated  in  Figure  21.  To  remove  used  sheets, 
loosen  the  clip  at  lower  left  hand  comer  with 
your  left  hand,  seizing  the  paper  with  the  right 
and  jerking  upward  with  a  free  swinging  motion 
that  breaks  it  from  the  other  three  fasteners. 

The  drawing  surface  must  be  specially  lighted 
for  the  best  presentation  of  color  drawings.  The 
device  shown  in  Figure  21  is  practical  in  con- 
nection with  the  plain  supports.  It  will  be 
observed  that  the  construction  of  these  supports 
sets  the  board  back  four  inches  from  the  front  of 


76  CRAYON  PRESENTATION 

the  table  allowing  space  for  chalk  below  the 
board  and  directly  in  front  of  the  drawing  sur- 
face. The  lighting  of  his  board  is  worthy  of 
individual  consideration  on  the  part  of  each 
performer  and  must  be  adapted  to  his  equipment. 

Footlights  in  the  theaters  throw  the  light  from 
below  where  it  should  come  from  one  side  or 
from  above.  The  spotlight  is  always  very  dis- 
tracting to  work  under  and  should  not  be  used 
except  for  a  short  vaudeville  act.  Most  theaters 
have  drop  lights  which  may  be  lowered  just 
above  and  in  front  of  the  drawing  surface. 

The  average  chalk  talker  must,  however,  pro- 
vide his  own  lighting.  A  bracket  clamped  in  a 
position  on  side  and  just  in  front  of  board  or  the 
floor,  some  distance  in  front  and  to  one  side, 
gets  the  desired  result  of  screening  the  light 
from  the  audience  and  reflecting  it  upon  the 
picture  being  drawn  by  the  chalk  talker. 

Many  chalk-talk  performers  use  tightly 
stretched  canvas  fastened  to  a  collapsible  frame 
in  the  place  of  a  drawing  board.  A  roll  board 
has  come  into  very  general  use  by  many  enter- 
tainers. With  the  folding  easel  or  supports  it 
makes  an  ideal  outfit  as  the  paper  may  be 
smoothly  protected,  and  the  board,  paper,  and 
supports  rolled  together  into  compact  form  for 
carrying.  This  is  illustrated  in  Figure  30,  which 
shows  Ray  Handy  carrying  his  outfit  under  his 
arm  after  a  performance.  Figure  29  pictures  the 
cartoonist  using  a  turn-over  board  in  a  Duluth 
chalk  talk.  Figure  31  illustrates  roll  board  con- 
struction. 


CHALK  TALK 
PERFORMANCE 


In  the  First  Performance,  Early  Assur- 
ance That  the  Audience  is  "With  You" 
Means  Everything  to  the  Beginner. 

A  Good  Introduction  Accomplishes  This 
In  the  First  Five  Minutes.  Play  Safe  In 
First  Public  Performance  By  Using  the 
"Right  Angle  Introduction,"  Word  For 
Word. 


Set  Up  Your  Board  in  an  Out-Door  Studio  Wfiere  You  Can  Practice 
Drawing  and  Speal<ing  Just  as  You    Expect  to   Use  Them   in   Per- 

mance. 


Chapter    V. 
FIRST  PERFORMANCE 

In  making  a  start  in  chalk  talk,  the  performer, 
crayon  in  hand,  stands  with  expanse  of  white 
paper,  before  an  expectant  audience — What  pos- 
sibilities ! 

Upon  the  result  of  this  first  appearance  depends, 
to  a  large  extent,  his  whole  success  in  chalk  talk. 
Definite,  conclusive  success  in  first  tryout  depends 
entirely  upon  careful  preparation  of  a  few  simple 
numbers. 

With  successful  consummation  of  the  beginning 
program  before  an  audience  comes  a  brightening 
up  of  the  whole  situation — hard  work  is  forgotten, 
undreamed-of  possibilities  open  up,  and  the  novice 
continues  the  work  with  a  zest  hardly  imaginable 
during  the  early  practice. 

Particular  care  must  be  taken  to  have  a  bright 
introduction.  A  good  start  with  a  laugh  and  a 
hand  of  applause  is  half  the  battle.  It  gives  the 
entertainer  assurance  and  makes  an  audience  com- 
fortable. 

Drawing  with  the  lecture  crayon  while  the 
audience  waits  and  watches  is  very  different  from 
any  other  kind  of  draftsmanship.  In  actual  per- 
formance the  chalk  talker  realizes  that  special 
preparedness  in  conveying  definite  ideas  in  the 
shortest  possible  time  is  what  counts. 

It  is  not  the  act  of  drawing,  no  matter  how 
clever,   that  wins  favor  with  an  audience.     The 


80  CRAYON  PRESENTATION 

audience  is  not  interested  in  merely  watching  one 
draw.     The  result  is  what  counts. 

It  is  this  very  fact  that  furnishes  the  oppor- 
tunity to  the  novice.  He  can  quickly  acquire  the 
knowledge  necessary  to  give  his  first  fifteen  or 
twenty  minute  program.  If  he  will  concentrate 
on  a  good  introduction  and  a  half  dozen  simple 
stunts,  he  can  go  before  an  audience  with  assur- 
ance of  success. 


Text   Figure  36 
Right    Angle    Smile 

So  important  is  a  catchy  introduction  that  a 
detailed  outline  of  this  opening  number  will  be 
helpful.  In  practice  exercises  the  detail  of  draw- 
ing the  pictures  for  the  right  angle  introduction 
was  elaborated.  We  will  now  consider  a  word 
accompaniment   for  actual   performance. 

The  prelude  to  the  introduction  is  an  obvious 
bid  for  applause,  but  it  must  be  borne  in  mind 
that  the  audience  welcomes  the  opportunity  to 
share   in   a   performance.      The   introductory   re- 


CHALK   TALK   PERFORMANCE  81 

marks  on  stepping  before  an  audience  run  as 
follows : 

"It  takes  more  than  one  to  do  anything  that 
is  worth  while. 

"I  am  here  this  evening  on  the  express  under- 
standing that  YOU  are  to  be  responsible  for 
one-half  of  this  performance. 

"If  it  is  a  success,  the  credit  is  MINE.  If  it 
is  a  failure,  YOU  are  to  blame  for  it.  (Pause.) 


Text  Figure  37 
Wrong   Angle   Scowl 

"To  show  you  YOUR  part  in  the  work  we 
have  before  us,  I  am  going  to  use  a  little  plain 
geometry." 

As  the  right  angle  is  drawn,  the  comment 
should  be  made: 

"This   is  the   RIGHT   ANGLE!" 

Quickly  stepping  to  the  other  side  of  the 
board,  the  performer  says  as  he  outlines  the 
iown-turned  mouth: 

"And  this  is  the  WRONG  ANGLE!" 


82  CRAYON  PRESENTATION 

Now  there  is  nothing  on  the  drawing  board 
but  the  two  bent  lines  of  the  two  faces  to  be 
developed,  and  nothing  funny  has  been  said. 
The  simple  announcement  has  been  made  of  what 
has  been  drawn  as  it  was  drawn,  and  yet  the 
spirit  of  anticipation  stirs  the  audience,  and  a 
ripple  of  merriment  runs  over  the  room,  so  ready 
are  people  to  be  amused. 

After  quickly  drawing  the  cloud  of  GLOOM 
in  blue,  the  same  color  may  be  spread  on  the 
cheeks  of  the  wrong  angle  face  with  the  com- 
ment : 

"I  dwell  first  on  the  wrong  angle."  Suiting 
action  to  the  words,  the  scowling  face  is  next 
drawn,  and  turning  from  the  wrong  angle  face 
with  the  comment:  "The  only  thing  to  do  with 
a  face  like  that  is  to  forget  it  as  quickly  as  pos- 
sible," the  performer  says,  as  he  draws  the 
orange  hair  over  the  right  angle  smile: 

"But  when  THIS  FACE  puts  in  an  appearance 
in  any  social  gathering,  things  begin  to  brighten 
up,  and  the  whole  affair  takes  on  an  entirely 
different   complexion." 

The  cheeks  are  colored  red  as  the  word  "com- 
plexion" is  used,  and  the  performer  continues: 

"When  the  right  angle  puts  in  an  appearance 
on  the  face  of  an  audience,  the  cartoonist  works 
more  willingly  and  cheerfully  and  is  willing  to 
stay  right  with  you  until  the  janitor  locks  the 
door  for  the  night. 

"Then  your  part  in  this  chalk  talk  is  very 
simple : 


CHALK  TALK   PERFORMANCE 


83 


**Just  smile  a  smile,  and  as  you  smile,  another 

smiles. 
And  soon  there's  miles  and  miles  of  smiles, 
And  life's  worth  while,  if  YOU  but  SMILE!" 

It  has  been  said  that  a  good  beginning  in  per- 
formance is  half  the  battle.  There  is  nothing  in 
the  foregoing  word  accompaniment  but  what  any- 
one can  quickly  memorize  to  recite  while  drawing 
the  simple  outlines  of  Figure  16. 

Vmaud/ 


7f0.2, 

Text   Figure  38 
Carey  Orr  Optical    Illusion 

The  Right  Angle  Introduction  has  been  given 
thus  in  detail  on  the  theory  that  well  begun  is 
half  done.  It  is  adaptable  to  any  line  of  chalk  talk 
which  may  be  used  by  any  performer.  If  faithfully 
followed,  he  will  be  well  on  his  way  toward  a  suc- 
cessful performance. 

For  first  performance,  choose  quick,  catchy 
trick  drawings  and  master  the  few  stunts  to  be 
presented,   leaving   experimentation  in  variety  of 


84  CRAYON  PRESENTATION 

possibilities  until  after  acquiring  knowledge,  from 
actual  experience  of  what  an  audience  is  inter- 
ested in  and  laughs  at. 

The  audience  is  the  beginning  chalk  talker's 
school,  and  he  should  go  to  it  early  if  he  would 
save  himself  waste  of  much  time  and  effort. 
There  are  things  to  be  learned  from  an  audience 
that  can  be  brought  home  to  the  chalk  talker  in 
no  other  way.  One  of  these  is  that  a  bold,  strong 
outline  worked  out  with  snap  and  dash  by  the 
rankest  amateur  is  more  effective  than  a  faint  or 
indefinite  drawing,  though  of  real  artistic  merit, 
hesitatingly  elaborated.  Landscapes  and  preten- 
tious color  blendings  which  seem  just  the  thing 
in  advance,  prove  much  too  elaborate  and  tedious 
when  attempted  in  platform  work.  The  wise 
beginner  will,  then,  omit  any  attempt  at  exhibi- 
tion of  skillful  drawing  or  artistic  showing  of 
landscapes,  pretty  girl  heads  or  elaborate  por- 
trayals, until  after  a  first  tryout.  He  must  learn 
the  demand  of  an  audience  by  working  before  it. 
In  this  way  as  in  no  other  will  he  learn  what  to 
work  for  and  what  to  leave  out.  From  the 
"Standard  Stunts"  he  may  select  the  simple, 
quick  transformations  and  evolutions  best  adapted 
to  his  individual  requirements,  and  from  this  safe 
beginning  build  up  an  individual  program,  orig- 
inating and  elaborating  in  the  light  of  experience. 

An  audience  sees  a  picture  very  differently 
from  a  distance  of  fifty  feet  from  that  seen  by  the 
artist  three  feet  from  the  board.  A  picture 
properly  drawn  for  view  from  the  longer  distance 


CHALK   TALK   PERFORMANCE  85 

will  look  much  better  to  the  audience  than  to  the 
performer. 

The  performer  must  bear  in  mind  that  it  is 
the  big  shapes  and  main  proportions  that  catch 
the  eye  of  the  audience.  It  is  well  to  go  to  a 
distance  of  twenty-five  or  thirty  feet  for  a  look 


<3a. 

Two  HEARXS 

THAT  BEAT  — 
AS    OWE 


Two  S0UL6 

"WITH  "BUI  A 


S.   S.    Henry   Two   Hearts  Stunt 

at  practice  drawings,  that  all  unnecessary  detail 
and  confusing  combinations  may  be  omitted  in 
making  the  drawing  before  an  audience.  It  is 
surprising  how  much  can  be  left  out  of  a  picture 
and  still  have  it  quite  as  good  from  the  view  the 
audience  gets  of  it.  The  best  chalk  entertainer 
is  the  one  who  leaves  out  every  superfluous  detail. 
The  better  the  drawing,  the  more  satisfactory 
the  result,  of  course,  and  there  will  be  plenty  of 
opportunity  to  use  expert  drawing  later  as  the 
ambitious  entertainer  progresses.  There  is  a 
limitless  field  for  display  of  artistic  ability,  and 
originality  may  be  given  widest  range  after  a 
little  platform  experience,  but  to  avoid  relearning 
much  and  avoiding  blunders  that  might  prove 
disastrous,  the  beginning  performer  is  cautioned 
to  stick  to  tried  and  tested  forms  of  presentation. 


86  CRAYON  PRESENTATION 

The  "Standard  Stunts"  of  a  later  chapter  furnish 
this  short  cut  to  chalk  talk  presentation. 

One  of  the  first  requisites  of  good  platform 
appearance  is  assurance.  Confidence  comes  with 
familiarity  with  just  the  stunts  one  is  to  do,  and 
the  words  he  is  to  recite  in  stepping  out  before 
his  first  audience.  It  is  quite  possible  to  confuse 
one's  self  by  undertaking  too  great  a  variety  of 
drawings. 

For  the  first  performance,  then,  let  the  beginner 
learn  where  every  line  and  spot  of  color  is  to  go, 
and  thoroughly  memorize  the  words  that  are  to 
be  said  while  drawing  each  picture.  Once  he 
has  done  this,  he  can  go  before  a  gathering  of 
people,  large  or  small,  with  a  confidence  which 
sets  them  at  their  ease,  ready  to  settle  down  to 
a  good  time,  and  everything  will  take  on  a  sur- 
prisingly cozy  and  comfortable  air,  which  will 
insure  a  kindly  reception  of  individual  numbers. 

No  doubt  the  first  audience  sitting  out  there 
awaiting  your  appearance  thinks  nothing  unusual 
is  going  to  happen.  In  fact,  they  rather  antici- 
pate being  bored  by  a  long  rambling  introduction. 
It  is  up  to  you  to  surprise  them.  That  is  what 
the  right  angle  introduction  is  for.  It  is  planned 
to  enlist  the  immediate  co-operation,  and  by  so 
doing,  the  interest  of  the  audience. 

After  this  a  succession  of  quick  evolutions, 
transformations  and  stunts  in  which  the  audience 
takes  part,  holds  their  interest.  Then  an  unex- 
pected ending  of  the  program,  while  they  are 
interested  and  waiting  for  more,  and  the  first 
performance  is  a  success. 


CHALK  TALK 
CLASSIFICATION 

Trick  Drawings Dexterous  Drawings Sentiment 

Stunts — Illustrations  and  Portrayals — Crayon  Cartoons 


Alton  Packard's  Vanity  Fair 
Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


A  CHURCH  CHALK  TALKER 

Rev.  Phillips  E.  Osgood,  of  St.  Mark's  Episcopal 
Church,  Minneapolis,  in  chalk  talk  illustration  of 
"Superstitions." 

Reverend  Osgood  uses  chalk  talk  before  chil- 
dren's Lenten  classes  and  in  Sunday  School  illus- 
tration. His  large  colored  drawings  before  na- 
tional gatherings  of  his  denomniation  are  of  high 
artistic  merit  as  well  as  being  of  special  interest 
to  his  audiences. 

His  crayon  presentation  and  chalk  talk  has 
brought  this  leader  of  his  denomination  into  great 
demand  for  addresses  before  great  rallies  of  chil- 
dren. As  high  as  3,000  children  have  gathered 
for  a  single  performance. 


Chapter   VI 
CHALK  TALK   CLASSIFICATION 

Chalk  talk  stunts  may  be  arranged  under  five 
main  classifications. 

First — Trick  Drawings,  which  are  planned  to 
surprise   by   unexpected   development. 

Second — Dexterous  Drawings,  prepared  to  ex- 
cite admiration  by  the  skill  and  dexterity  of  the 
performer. 

Third — Sentiment  Stunts,  to  awaken  cherished 
memories  or  stir   emotion. 

Fourth — Illustrations  and  Portrayals,  to  present 
a  scene,  illustrate  a  narrative  or  portray  people. 

Fifth — Crayon  Cartoons,  to  picture  an  idea, 
impress  a  truth  or  mould  opinion. 

TRICK   DRAWINGS 

One  can  learn  to  do  trick  drawings  just  as  one 
learns  to  do  slight  of  hand.  They  are  often  no 
more  than  the  clever  combination  of  lines  to 
picture  a  play  or  words.  The  fact  that  they  are 
not  really  drawings  or  in  any  sense  works  of 
art,  makes  them  not  a  whit  less  interesting.  For 
the  average  beginner,  trick  drawings  are  the  open 
sesame  to  chalk  talk  and  the  artist  desirous  of 
using  his  ability  in  crayon  presentation  makes 
a  mistake  if  he  deludes  himself  with  the  idea  that 


90 


CRAYON  PRESENTATION 


this  simplest  use  of  the  crayon  is  unworthy  of 
his  effort.  Some  of  the  best  entertainers  are 
effective  because  they  confine  themselves  to  quick 
production  of  rapid-fire  climaxes,  only  possible 
by  means  of  trick  drawings. 

Under  the  classification  of  trick  drawings  come 
all  transformations,  in  which  a  drawing  of  one 
object  is  changed  to  something  entirely  different 
as  in  the  cherry  cocktail  where  the  glass  of  liquor 
is  transformed  into  the  too  frequent  imbiber. 


f^^sJ 


Text  Figure  39 
Frank  King  Cherry  Cocktail 

Letters  of  the  alphabet  are  changed  into  people, 
words  into  animals  and  geometric  figures  com- 
bined to  take  on  human  form.  Fruits  and 
vegetables  are  transformed  into  people  and  an- 
imals that  are  wont  to  eat  them,  and  a  pretty 
girl  evolved  from  an  egg.  Evolutions  and  trans- 
formations without  end  may  be  worked  out  by 
the   inventive  chalk  talker. 

A  picture  completed  in  one  position,  by  in- 
genius  construction,  may  represent  something 
entirely  different  when  reversed.  Such  drawings 
are  known  as  "turnovers"  and  require  a  revers- 
ible board  for  their  most  satisfactory  presentation. 


CHALK  TALK  CLASSIFICATION 


91 


Under  this  group  may  be  classed  the  develop- 
ment of  two  faces  from  one  profile,  as  in  the  old 
professor    whose    profile    slightly    modified    and 


DrvjrzopimnT 
OLDNSNfOR 


fscorrj)  DSVFIOPHUNT 


Text  Figure  40 
Soldier   Professor  Turn-over 


Young  m^h  roRACX'ioif 


92 


CRAYON  PRESENTATION 


turned    up  side-down    develops    into    that    of    the 
youthful  soldier. 


Text  Figure  41 

Uncle   Sam's   Folks,   by   Alton    Packard 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

The  list  of  trick  drawings  would  include,  if 
amplified,  most  of  the  popular  chalk  talk  stunts 
in  general  use.  The  foregoing  give  a  basis  upon 
which  the  ingenious  user  of  the  crayon  may  build 
original  numbers. 


1 


t 


5= 


Text   Figure  42 
Gettin]  a   Man's   Number 


CHALK  TALK   CLASSIFICATION  93 

DEXTEROUS    DRAWINGS 

The  skilled  draftsman  may  win  applause  by 
various  forms  of  quickly-drawn  pictures.  This 
takes  intensive  drill  upon  speedy  rendering  of 
clever  picturings.  Alton  Packard's  types  in 
Uncle  Sam's  Folks  and  Edward  Marshall's  Indian 
head  are  examples  of  real  skill  in  picture  presenta- 
tion. 


Text   Figure  43 
Edward    Marshall    Indian   from   Artist's   Original 

Smoke  pictures  drawn  by  vaudeville  and  lyceum 
entertainers  by  erasure  of  the  soot  from  a  white 
enamel  surface  and  rag  pictures  made  up  of  pieces 
of  colored  cloth  excite  the  admiration  of  the  aud- 
ience because  of  the  unusual  in  their  execution. 

A  direct  use  of  art  principles  is  employed  in 
drawing  landscapes  and  marines,  employing  per- 


94 


CRAYON  PRESENTATION 


spective  and  correct  construction  to  carefully 
planned  and  quickly  executed  picturing  of  attrac- 
tive scenes  and  well-drawn  heads  and  dashing 
figures. 


Text  Figure  44 
The  Springtime  Reminiscent  Scene  by  Alton  Packard 
Reproduced  by  courtesy  of  the  .Federal  Schools,  Inc. 

Some  artists  have  the  knack  of  drawing  ambi- 
dexterously.  The  knack  of  using  right  and  left 
hand  simultaneously  can  be  acquired.  This  ability 
exhibited  before  an  audience  invariably  brings 
applause. 


SENTIMENT  STUNTS 

There  is  no  more  telling  use  of  the  crayon  in 
public  presentation  than  the  color  elaboration  of 
scenes  from  boyhood  or  early  associations  that 
through  awakening  of  memory  stir  the  emotions. 
Alton  Packard  is  a  master  at  picturing  reminis- 


CHALK  TALK  CLASSIFICATION 


95 


cent  scenes  as  illustrated  in  his  picture  of  spring 
time. 


Text   Figure  45 
Sidney   Smith's    Brool<lyn    Bridge 

Other  entertainers  illustrate  popular  songs  or 
make  elaborate  drawings  in  colors  to  musical 
accompaniment  under  the  play  of  colored  light- 
ings of  the  vaudeville  houses. 

Drawing  of  scenes  or  landscapes  to  suggest 
old  associations  or  stir  remembrance  may  be  ef- 
fectively done  to  piano  or  song  accompaniment. 


96  CRAYON  PRESENTATION 

While  in  trick  drawings  the  object  is  rapid-fire 
presentation  of  simple  drawn  numbers,  in  stunts 
of  sentiment,  careful  preparation  must  be  made 
of  one  drawing,  and  interest  centered  on  its  pro- 
duction through  a  considerable  period  of  time. 

Only  by  careful  study  of  the  subject  can  the 
beginning  chalk  talker  hope  for  success  in  this 
advanced  use  of  chalk  talk  art. 

ILLUSTRATIONS  AND  PORTRAYALS 

The  portraying  of  historic  characters  such  as 
Lincoln  and  Washington  is  a  legitimate  field  for 
the  crayon  entertainer.  Life-size  portrayals  of 
such  characters  elicit  applause  when  completed 
in  strong  colorings  under  brilliant  spotlighting. 

J.  W.  Bengough,  the  Canadian  caricaturist, 
through  a  long  public  career,  had  a  happy  faculty 
of  picturing  prominent  people  in  correct  likeness. 
Thomas  Nast,  following  the  Civil  war,  enter- 
tained vast  audiences  with  his  striking  cartoons 
and  caricatures.  Packard's  portrayals  of  people 
and  scenes  are  examples  of  well-drawn  color  pro- 
ductions of  never-failing  interest. 

The  lecture  crayons  are  capable  of  harmonious 
blending  and  brilliant  contrasts.  The  color  artist 
who  will  put  his  best  into  crayon  presentation 
can  in  a  very  brief  interval  present  striking  pic- 
tures for  the  approval  of  an  audience.  Before 
essaying  it,  however,  the  beginner  in  art  adapta- 
tion to  chalk  talk  should  study  the  rudiments  of 
color  composition  or  content  himself  with  a  quick 
copy  of  some  simple  scenic  effect  or  striking 
portrait. 


CHALK  TALK  CLASSIFICATION 


97 


CRAYON  CARTOONS 
Under  this  class  come  many  introductions 
and  final  numbers.  The  right  angle  introduction 
and  similar  preludes  to  chalk  talk  performance 
cartoon  the  idea  of  the  success  sure  to  follow  a 
cheerful  reception  of  the  entertainer's  efforts  and 
the  depressing  effect  of  a  gloomy  expression  on 
the  face  of  an  audience. 


"Hap"   Hadley  in   His  Act  for  Greenwich  Village   Follies 

The  speaker  who  pictures  the  effect  of  the 
right  and  wrong  ways  of  doing  things,  or  disas- 
trous results  of  any  form  of  government  or 
administration  of  affairs,  is  a  cartoonist  pure  and 
simple.  By  ingeniously  arranged  figures,  humor- 
ously presented,  he  can  show  the  tax-payer, 
broken  down  under  too  heavy  burdens,  the  voter, 
coaxed  into  action  by  a  much  desired  bait,  or  the 
deteriorating  effect  of  intemperance,  greed  or 
dissipation. 


98 


CRAYON  PRESENTATION 


The  reformer  as  well  as  the  entertainer  finds 
good  use  for  the  cartoon  in  picturing  an  idea. 
The  educator,  business  organizer  or  salesman  can 
each  present  his  views  most  effectively  through 
comic  presentation,  while  the  reformer  or  politi- 
cian can  often  win  allegiance  to  his  cause  by 
humor,    where    fierce    denunciation    would    fail. 


The  Sea  of  Life  by  Rev.  Branford  Clarke 

Serious  pictorial  presentation  in  times  of  great 
social  or  political  upheaval  has  always  proven 
most  effective  in  moulding  public  opinion.  The 
cartoons  of  a  Nast  or  a  Raemakers  are  quite  as 
forceful  as  the  editorials  of  a  Greeley  or  the  ser- 
mons  of  a   Beecher. 

Under  the  heading  of  Chalk  Cartoons  come 
the  business  comparisons  of  John  H.  Patterson. 
J.  W.  Bengough's  pronouncement  in  picture  on 
single  tax  and  temperance,  which  followed  earlier 
efforts  as  an  entertainer,  were  cartoons  of  high 
order;   Carter  Beard's  chalk  talks  were  sermons 


CHALK  TALK  CLASSIFICATION  9& 

in  picture,  and  the  lecture  illustrations  of  Alton 
Packard  often  take  on  the  element  of  editoral 
comment. 

For  the  trained  cartoonist  there  is  a  wonderful 
opportunity  in  the  chautauqua  and  lyceum  field. 
Alvan  C,  or  as  he  is  better  known,  "Hap"  Hadley, 
has  carried  this  a  step  further  in  his  clever  pictur- 
ing of  notable  comic  characters  of  the  Sunday 
supplements,  in  his  act  with  the  Greenwich  Vil- 
lage Follies.  Mr.  Hadley  started  entertainment 
work  in  Oklahoma  as  a  Bart  chalk  talker.  His 
comics  appear  in  the  New  York  Sunday  supple- 
ments. 

During  a  long  career  in  every  section  of  the 
United  States,  Mr.  Packard  has  appeared  in  lec- 
ture courses  and  lyceum  entertainment  and  before 
vast  audiences  in  chautauqua  tents  and  pavilions. 

In  crayon  cartoons  is  possible  the  acme  of 
achievement  for  the  chalk  talker.  They  not  only 
entertain  but  instruct.  Very  often  they  combine 
the  elements  of  all  five  classifications  and  call  for 
the  best  ability  of  the   trained  artist. 

The  cartoon  is  but  a  means  of  expression.  The 
crayon  cartoonist  conveys  to  an  audience  the 
results  of  observation,  and  pictures  conclusions 
arrived  at  by  keen  thinking.  The  message  he 
brings  is  strikingly  presented. 

As  a  preacher  or  orator  trains  himself  in  rhet- 
oric and  elocution  for  public  speaking,  so  the 
crayon  cartoonist  trains  for  pictorial  presentation 
of  ideas  by  practice  in  what  is  most  effective  in. 
drawing  for  chalk  talk. 

Leading  to  this  most  general  use  of  the  crayon 
in  public,  defined  under  the  heading  crayon  car- 


100  CRAYON  PRESENTATION 

toons  of  our  fifth  classification,  come  the  other 
four  uses  of  the  crayon  in  public,  previously  out- 
lined. Any  one  of  them  may  be  employed  in 
cartoon  production. 

One  need  not  be  a  skilled  draftsman  or  trained 
artist  to  picture  ideas  through  cartoons.  Mr. 
Patterson's  match-stick  men  are  employed  in  yet 
simpler  form  by  many  Sunday  School  workers 
and  Bible  teachers  in  diagrammatic  presentation 
of  lesson  truths  and  they  may  be  utilized  by  any 
educator  to  visualize  a  situation. 

The  crayon  cartoon  is  for  everyone,  from  the 
most  skilled  cartoonist  to  the  beginning  chalk 
talker.  Anyone  can  picture  ideas  by  cartoon 
methods  in  his  own  individual  way  if  he  will  but 
try.  Once  started,  training  leads  to  more  elabor- 
ate drawings.  The  chalk  talker  must  train 
himself  in  public  presentation.  The  fact  that  he 
can  do  this  ever  so  crudely  in  chalk  talk  and  still 
satisfy  his  audience  gives  him  the  chance  at 
pictorial  expression  through  crayon  presentation 
not  afforded  by  any  other  form  of  illustration.  It 
also  incites  him  to  originality  as  does  no  other 
form  of  drawing  or  writing,  as  he  has  inspiration 
afforded  by  contact  with  his  audience. 

He  learns  first  hand  what  people  like,  what 
they  are  interested  in  and  what  they  laugh  at. 
It  is  the  best  possible  school  in  originality.  Let 
the  beginning  artist  resolve  that  he  will,  by  sys- 
tematic training,  advance  from  simple  outlines 
to  more  skilled  draftsmanship  and  his  chalk  talk 
may  lead  to  highest  forms  of  pictorial  and  literary 
expression. 


TEN  STANDARD 
STUNTS 


A^K 


/''^^A      ^tA   JVo  ^^        'N^    • 


Sid  Smith  Alphabetic  Faces 


Chapter   VII 
TEN    STANDARD    STUNTS 

There  is  an  infinite  variety  in  the  way  various 
ideas  may  be  simply  pictured.  Each  performer 
modifies  a  stunt  to  his  own  interpretation  of  it. 
In  this  way  the  same  stunt  appears  almost  totally 
different  in  the  hands  of  different  chalk  talkers. 


Text  Figure  46 
Sidney  Smith   Presentation   of  Soldier-door-dog 

For  this  reason,  standard  stunts  are  available  and 
may  be  adapted  to  individual  use  with  the  assur- 
ance that  they  will  appear  new  with  the  new 
mode   of  presentation. 

STUNT    NO.    1 — Simplest    Line    Drawing 
Soldier — ^Door — Dog    in   Three   Lines 

Thomas    Nast    and    a   host    of   followers    have, 
through  succeeding  generations  of  chalk  talkers. 


104  CRAYON  PRESENTATION 

given  the  Soldier-Door-Dog  in  three  lines  as 
shown  in  Figure  19.  Sidney  Smith  found  a  new 
way  of  picturing  the  door  in  one  line  with  three 
right  angles  in  it  as  in  A,  Figure  46,  and  his  in- 
terpretation of  the  Soldier-Door-Dog  drawing 
complete  appears  as  in  Figure  46-B. 

In  drawing  this  stunt,  the  announcement  is 
made:  "The  simplest  of  all  chalk  drawings  is 
about  to  be  drawn,  the  picture  of  a  soldier  going 


A*     2TO.Q.  ^B 

Text  Figure    47 
Bengough  Geometric   Figure  Development 

through  a  door,  followed  by  a  dog,  in  three  lines. 
'The  door !' "  As  the  word  door  is  said,  the  rec- 
tangle A,  Figure  46,  is  outlned  in  one  mark. 
"The  soldier!"  With  the  word  soldier,  the  bay- 
onet is  drawn.  "The  dog!"  As  the  word  dog 
is  used,  the  curved  tail  of  the  dog  is  shown.  By 
way  of  apology  for  so  simple  a  stunt  the  comment 
may  be  made:  "That  stunt  is  so  simple  it's 
almost  simple.  It  is  really  used  as  a  prelude  to 
something  a  little  more  modern." 


TEN   STANDARD  STUNTS 


105 


STUNT    NO.   2 — Geometric   Figures 
The   Operatic   Singer.      By   J.   W.    Bengough 

The    human    figure    may    be    produced    from 
geometric    figures.      Note    the    oval,    square,    tri- 


Text  Figure  49 

John     M.    Baer    Transforms  the    Square    into    Honest    Uncle    Sam, 
Fig.  48,  and  the  Bulldog  into  the  Politician,  Fig.  49 

angle,  curve,  right  angle,  and  two  straight  lines 
of  A,  Figure  47.  From  geometric  figures  set 
down  in  the  above  order,  J.  W.  Bengough  quickly 
constructs  the  operatic  singer  of  B,  Figure  47. 


106 


CRAYON  PRESENTATION 


This  geometric  evolution  is  one  from  the 
"Simplest  Line  Series"  of  the  famous  Canadian 
cartoonist  and  chalk  talker.  On  page  101  is  a 
direct  reproduction  from  the  Bengough  crayon, 
and  shows  the  real  skill  of  the  cartoonist  quite  as 
fully  as  a  more  elaborate  production. 


Text  Figure  50 
Andy  Gump  in   Cfialk  Taik 


STUNT    NO,   3 — Letter   Transformation 
AlpFiabetic  Faces 

The  rapid-fire  drawing  of  similar  combinations 
of  lines  and  figures  to  picture  people  and  animals 
in  caricature,  works  out  well  as  a  section  in  a 
chalk  talk  program. 

The  chalk  talk  entertainer  can  develop  for 
himself  faces  from  the  various  letters  of  the 
alphabet.  Almost  every  chalk  talker  using  this 
stunt  has  his  own  code. 


TEN   STANDARD  STUNTS 


107 


The  faces  from  letters  shown  on  page  102  are 
the  ones  used  by  Sidney  Smith,  who  makes  quite 
a  feature  of  this  stunt  by  calling  on  someone 
from  his  audience  to  come  up  on  the  platform 
and  outline  a  letter  from  which  he  afterwards 
evolves  a  comic  face. 


Text  Figure  51 
Sidney   Smitli    Develops   Min   from   Letter 

Other  entertainers  put  the  letters  down  from 
the  suggestion  of  the  audience.  Sometimes  three 
letters  are  set  down  as  called  for  and  the  faces 
worked  out  in  rapid  succession.  An  underlying 
flesh  tone  beneath  the  letters  helps  in  producing 
the  faces  later. 


STUNT   NO.  4 — Turn -over  Transformations 
Coon — Moon   Faces 

The  development  of  two  faces  with  one  profile 
furnishes  the  basis  for  interesting  chalk  talk  de- 


108 


CRAYON  PRESENTATION 


velopment.  The  "Dark  of  the  Moon"  stunt 
shown  in  Figure  52,  from  the  Federal  School 
Course  in  Illustrating  and  Cartooning,  is  an  ex- 


I  — 


Text  Figure  52 

Dark   of  the    Moon    Stunt   from 

the   Federal   School   Course 

Reproduced  by  courtesy  of  the  (Federal  Schools,  Inc. 


Text  Figure  53 
Harold   Liscombe   Development 


jsEci^uir 


Text  Figure  54 
Ted  Nelson  Turn-over 


cellent  example  of  this  form  of  reversible  profiles. 
With  this  as  a  suggestion,  students  of  the  course 
submit    original    developments    from    which    has 


TEN   STANDARD  STUNTS 


109 


been  selected  the  very  direct  and  simply-drawn 
coon-moon  stunt,  by  Harold  Liscombe,  of  Tor- 
onto, of  Figure  53. 

Using  a  front  view  instead  of  a  profile,  Ensign 
Ted  Nelson  produced  The  Naval  Recruit,  Figure 
54.  In  Figure  55,  he  is  shown  in  the  act  of  draw- 
ing this  number  in  connection  with  his  duties  as 
a  recruiting  officer. 

STUNT   NO.  5 — Fruit  and   Vegetable   Transformations 
The   Pear — Parent   Number 


Text  Figure  55 
Ensign  Ted  Nelson  Using  Chalk  Talk  in  Naval   Enlistments 


Another  number  selected  from  the  "We  Are 
What  We  Eat"  program  of  the  Federal  School 
Course  is  the  evolution  of  the  Parent  from  the 
Pear,  Figure  56.  In  this  series,  the  underlying 
idea  is  the  evolution  of  people  and  animals  from 


-3  „  Text  Figure  56 

^ear    Parent    Stunt    from    Federal    Schools    Course    In    Illustrating 
and   Cartooning  " 


TEN  STANDARD  STUNTS 


111 


the  fruit  and  vegetable  that  goes  to  make  up  their 
chief  article  of  diet. 

The  combination  of  picture  and  verse  is  a  feat- 
ure of  this  series.  The  idea  is  adaptable  to  a 
serious  turn  in  connection  with  orcharding  and 
phases  of  horticultural  development.  For  a  pro- 
gram to  be  used  in  rural  districts  and  farm  bet- 
terment cartoons  it  is  a  most  interesting  theme. 
Simple  stunts  may  be  developed  along  this  line 
by  the  reader  for  individual  programs. 

STUNT    NO.   6— Indian    Head 
Dexterous    Drawing.      By    Edward    Marshall 


Text  Figure  57 

Edward    Marshall    in    His    Famous   Color  Vaudeville   Production    of 

the   Indian   Head. 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


112 


CRAYON  PRESENTATION 


Working  with  colored  crayon  to  the  beat  of 
tom-toms,  Edward  Marshall  produces  an  Indian 
head,  using  something  over  700  lines  in  70  sec- 
onds.    See  Figure  43. 

Colored  lighting  and  music  may  be  improvised 
in  amateur  presentation  of  similar  drawings  of 
picturesque  types  of  people  with  national  airs  for 
accompaniment.  Mr.  Marshall  is  shown  in  his 
act  in  Figure  57. 

STUNT    NO.    7— Patriotic    Number 
Eagle — Uncle   Sam    Evolution 

^:TmSA6Z£-mULrTVPICAL  QFAMIRICA 


Text  Figure  58A 

From  drawings  of  birds  and  animals  may  be 
evolved  human  characteristics  and  vice  versa. 
The   Uncle   Sam   head  from   the   outlines   of   the 


TEN   STANDARD   STT'NTS 


113 


eagle,  Figure  58,  were  first  produced  by  a  Fed- 
eral School  student,  Lynn  C.  Rose,  published 
originally  in  the  Bart  Patriotic  Program,  widely 


Co2^J?LzrT£iD       ^TOTiT 


Text  Figure  58B 

distributed  during  the  World  War  under  Y.  M.  C. 
A.  and  U.  S,  Government  committees  on  pub- 
licity and  entertainment. 


114 


CRAYON  PRESENTATION 


Hon.  John  M.  Baer,  the  Congressman  cartoon- 
ist, used  this  development  in  patriotic  chalk  talk 
in  soldier  addresses  and  entertainment  in  Wash- 
ington, where  his  chalk  talks  were  in  great  de- 
mand. His  interpretation  of  this  stunt  is  simpler 
of  execution,  showing  small  head  of  eagle  quickly 
developed  into  Uncle  Sam. 

STUNT    NO.    8 — Ambidexterous    Development 
The    Loving   Cup 


Text  Figure  59 


Two  Faces   Developed  from   Outline  Ambidextrously   Drawn 
Keproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


TEN  STANDARD  STUNTS 


115 


The  person  who  can  use  either  hand  with  equal 
facility  is  spoken  of  as  being  ambidexterous. 
Ambidexterous  drawing,  or  the  use  of  both  hands 
simultaneously,  is  used  by  comparatively  few 
draftsmen.  Anyone  can  train  his  left  hand  to 
draw  the  reverse  of  the  line  being  sketched  with 
the  right.  On  this  possibility  are  founded  a  few 
ambidexterous  chalk  talk  stunts,  such  as  the  Lov- 
ing Cup  of  Figure  59.     The  stem  of  the  cup  is 


GOOD  I^IGHT 

KUKBER. 
Owe  Dia^w^ine 


OOMPLCTED 


Text    Figure   59A 
Ambidexterous    Number   from    Outline    of   Candle    Stick 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

drawn  in  such  a  manner  as  to  outline  two  profiles 
simultaneously.  Their  development  into  faces 
follows  the  completion  of  the  loving  cup  proper, 
which  can  be  made  to  appear  to  be  the  main 
feature  of  the  number,  until  the  moment  when 
the  faces  are  unexpectedly  developed.  By  using 
a   candlestick   instead   of   a   loving   cup,   a   good- 


116 


CRAYON  PRESENTATION 


night  number  may  be  evolved  from  the  faces  of  a 
young  man  and  young  woman,  see  Figure  59A. 

STUNT    NO.    9— Chalk    Talk    Portrayal 

3^ 


Text  Figure  60 
Bart    Portrait    by    Wing. 

The  portraying  of  an  individual  from  the  audi- 
ence is  a  phase  of  crayon  presentation  that  will 
be  worked  out  in  about  as  many  ways  as  there 
are  entertainers. 

Two  examples  are  here  given.  The  first,  Fig- 
ure 60,  is  a  realistic  caricature  of  the  author  by 
Frank  Wing.  It  is  only  a  slight  exaggeration  of 
main  characteristics. 


TEN  STANDARD  STUNTS 


117 


Text  Figure  61 
Sid  Smith  Chalk  Talk  Caricature 
Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


lia  CRAYON  PRESENTATION 

The  Other  is  a  very  broad  caricature  by  Sidney 
Smith  of  an  individual  from  his  audience,  at  a 
Rotarian  Club  banquet,  Figure  61.  Mr,  Smith  is 
very  successful  in  greatly  exaggerating  some 
striking  attribute  of  a  selected  character.  In  this 
case,  the  tall  pompadour  came  in  for  special  at- 
tention. It  may,  in  another  case,  be  a  very  bald 
head  or  red  hair  or  big  glasses  or  long  legs.  The 
artist  makes  small  pencil  sketches  in  advance, 
which  he  follows  in  working  out  the  big  cari- 
cature before  his  audience. 

STUNT    NO.    10 — Picture    and    Verse    Combination 
Woman,   Lovely  Woman 

The  drawing  of  a  picture  to  recited  verse  or 
solo  accompaniment  may  be  made  very  effective. 
Such  drawing  to  vocal  accompaniment  of  popular 
songs  may  be  accomplished  by  the  same  person 
if  the  performer  is  gifted  with  a  good  voice  and 
musical  training.  If  not,  he  must  call  a  second 
party  into  the  act. 

The  chief  feature,  however,  is  the  picture  pres- 
entation. The  drawing  should  possess  some  ele- 
ment of  humor,  surprise  or  attractiveness.  Just 
drawing  an  illustration  of  the  lines  is  not  sufn- 
cient. 

The  "Woman,  Lovely  Woman"  example  from 
the  author's  individual  repertoire  is  here  shown, 
with  the  proviso  that  it  is  not  to  be  used  in  public 
presentation  without  special  arrangements.  Text 
Figure  62A  shows  original  figure  of  Robinson 
Crusoe,  which  is  gradually  transformed  into  the 
lady  in  the  completed  development. 


TEN  STANDARD  STUNTS 


119 


Its  reason  for  success  is  the 
unexpected  development  of  a 
lady  at  the  seashore  from  Rob- 
inson Crusoe,  and  the  timely 
application  of  topical  verses  to 
woman's  prominence  in  affairs. 
The  recitation  of  the  seventeen 
verses  allows  time  for  trans- 
formation and  coloring  of  pic- 
ture. 


Text  Figure  62 


WOMAN,  LOVELY  WOMAN 

Oh,  Woman,  Lovely  Woman, 
Since  first  this  world  began 
You  have  ruled  it  most  adroitly, 
Through  your  humble  servant,  man. 


120  CRAYON  PRESENTATION 

A  captain  may  capture  a  city — 
A  king  be  placed  on  the  throne, 
But  we  know  the  one  who  will  rule  it 
Is  the  woman  who  stayed  at  home. 

A  mayor  may  be  elected, 
A  governor  come  to  the  chair, 
A  president  be  selected, 
And  nobody  seems  to  care. 

But  the  country  never  is  easy 

Until  someone  out  of  the  throng, 

Answers  the  fateful  question, 

"To  what  church  does  his  wife  belong?" 

Mere  man  may  pay  for  the  groceries 

From  out  a  fat  check  book, 

But  we  know  the  one  we  must  look  to  for  meals 

Is,  after  all,  the  cook. 

The  question  is  often  put  to  you, 

"Did   William  write   the    Shakespeare   play?" 

I  hardly  think  Bacon  did  it. 

But  Mrs.  Shakespeare  may. 

Higher  critics  have  revealed  to  us 
A  thing  hitherto  kept  dark. 
While  old  Noah  doubtless  built  it, 
Mrs.  Noah  governed  the  ark. 

When  to  future  generations 

The  story  they  come  to  tell, 

'Twill  be  Mrs.  McGinty  sought  the  watery  depths 

In  her  spacious  diving  bell. 


TEN   STANDARD  STUNTS  321 

D.  A.  R.'s  will  tell  the  story 
Twenty-two  ten,  or  there  about. 
How  Paulina  Revere  roused  the  natives 
In  her  electric  runabout. 

The  boy  stood  on  the  burning  deck, 
Did  you  ever  hear  such  rot? 
From  most  recent  information 
'Twas  his  sister  who  got  so  hot. 

Here  I  am  giving  a  chalk  talk 
And  hoping  to  make  a  hit, 
But  I  know  if  I  gain  my  purpose. 
It's  through  the  women  back  of  it. 

Now  we  come  to  old  Crusoe, 
The  hero  of  this  tale, 
And  the  telling  of  the  story 
Fairly  makes  one  quail. 

A  desert  island's  nothing. 
But  think  of  the  fateful  plot. 
How  very,  very  lonesome. 
Where  woman  speaketh  not. 

It  really  is  too  much  to  believe. 
We  scarcely  can  take  it  in. 
I've  thought  it  over  carefully. 
It  couldn't  have  been  a  him. 

I  never  liked  the  Adam  story. 
It  more  reasonable  seemed  to  me, 
That  Eve  was  first  in  the  garden 
And  Adam  shook  the  apple  tree. 


122 


CRAYON  PRESENTATION 


And  when  youVe  scanned  this  closely, 
You'll  find  beyond  a  doubt. 
Robinson  Crusoe  was  a  woman, 
Who  in  search  of  a  man  set  out! 


Bart  and  His  Illustration  of  Woman  Lovely  Woman. 


CHALK  TALK 
ACHIEVEMENT 

In  No  Other  Field  Can  Artist  or  Enter- 
tainer so  Quickly  Arrive  at  Individual  At- 
tainment as  Through  Use  of  the  Crayon 
Before  An  Audience. 


"Hap"    Hadley    and    Happy    Hooligan    One    of    the    Popular    Comic 
Characters    Produced    in    His    Drawing   Act    in    Musical   Comedy. 


^x^;  ^^jr;.j>^ 


'^ 


>^*^ 


r 


John   T.    McCutcheon    Characters 


Chapter  VIII 

CHALK  TALK  ACHIEVEMENT 

Achievement  in  chalk  talk  began  in  America 
with  Thomas  Nast,  in  the  United  States,  and 
J.  W.  Bengough  in  Canada.  The  chalk  talks 
given  by  them  w^ere  the  big  picture  shows  of 
their  day  and  they  played  to  packed  houses. 


c?^xWi-«*.- .-..—,.«,  -, — V 


M  hin  ^^  1 


^/^//^/^ 


Text  Figure  64 

"Drawing    a    House"   Stunt   by   Thomas    Nast 

Nast    Sketch   of    himself    reproduced    from   Albert    Bigelow    Paine's 

book    'Thomas   Xast.   His   Period  and  His   Pictures."     Courtesy  of 

the  Pearson  Publishing  Co. 

One  evening  as  Thomas  Nast  looked  out  over 
an  audience  that  taxed  the  capacity  of  the  audit- 
orium where  he  was  appearing,  an  introduction, 
often  used  by  him  later,  flashed  into  his  mind. 
Stepping  to  the  board  he  roughly  sketched  a  little 
building  and  looking  out  over  the  audience  once 
more,  remarked: 

"Who  says  I  can't  draw  a  house?" 


12Q  CRAYON  PRESENTATION 

There  was  a  big  demand  for  the  crayon  draw- 
ings of  Nast  and  Bengough.  At  the  end  of  their 
performances  their  drawings  were  bid  in  by  mem- 
bers of  their  audiences  at  prices  ranging  as  high 
as  seventy-five  or  eighty  dollars. 


Text  Figure  65 
J.   W.    Bengough 

Their  ability  to  draw  portraits  and  illustrations 
before  an  audience  was  regarded  as  phenomenal 
and  it  was  not  until  vaudeville  houses  began  to 
put  on  entertainment  programs  that  chalk  talk 
performances  became  at  all  general.  Carter  Beard 
and  a  few  other  lecturers  appeared  in  Lyceum 
tours,  delighting  school  children  by  drawing  in 
school  sessions  with  blackboard  presentation. 


CHALK  TALK  ACHIEVEMENT  127 

Mr.  Bengough  had  a  fine  tenor  voice  and  sang 
accompaniments  to  his  illustrations.  As  a  young 
man,  comic  presentation  and  telling  caricatures 
of  prominent  people  kept  him  in  demand  for  fre- 


Text  Figure  67 
Altoji    Packard 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

quent  tours  on  both  sides  of  the  line.  Later  he 
developed  forceful  cartoons  of  serious  import. 
They  were  drawn  large  in  color  and  for  a  long 
period  set  the  standard  of  artistic  merit  in  chalk 
talk  production. 

Alton  Packard  cartoon  comedies  next  came  into 
prominence.     Nor  does  he  confine  himself  to  the 


128  CRAYON  PRESENTATION 

humorous  in  chalk  talk.  His  serious  crayoti  pres- 
entation is  of  inspiring  value.  Mr.  Packard  makes 
a  profession  of  entertainment.  He  appears  con- 
tinuously, returning  season  after  season  to  the 
same  Lyceum  courses  in  the  winter  and  Chau- 
tauquas  in  the  summer.  Spring  finds  him  filling 
early   Chautauqua  programs   in   the   South.     He 


Text  Figure  68 
John   T.    McCutcheon 

travels  North  with  the  warm  weather,  covering 
engagements  from  coast  to  coast  and  in  the  fall 
starts  the  rounds  once  more  in  Lyceum  lecture 
courses. 

Packard's  crayon  drawing  is  of  highest  order. 
He  works  on  three  big  screens  with  eight-foot 
square  expanse  of  drawing  surface,  under  his  own 
lighting   equipment,    cleverly    arranged    for   most 


CHALK  TALK  ACHIEVEMENT 


129 


telling  effect.  His  brilliant  color  productions  are 
drawn  on  the  heavy  prepared  cloth,  described  in 
a  previous  chapter.  These  highly  finished  land- 
scapes and  reminiscent  scenes  take  considerable 
time  in  their  development,  a  rapid  fire  patter  per- 
tinent to  the  subject  being  kept  up  meanwhile. 
The  completed  picture  appears  artistically  draped 
and  specially  lighted. 


Text  Figure  69 
Frank  King 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

On  the  other  easels  are  heavy  rolls  of  rough 
surface  print  paper,  upon  which  black  and  white 
sketches  of  types  are  rapidly  drawn  one  after 
the  other.  The  large  size  of  the  sheets  used  and 
the  triple  board  arrangement  allow  the  audience 
a  continuous  view  of  the  Packard  productions. 


130  CRAYON  PRESENTATION 

In  Chicago  Sidney  Smith,  Clare  Briggs,  Carey 
Orr,  Frank  King  and  John  T.  McCutcheon  have 
been  in  demand  for  chalk  talk  performance,  be- 
cause of  the  popularity  of  their  cartoons  and 
comics.  Mr.  McCutcheon  has  filled  entertain- 
ment dates  with  regular  booking  agencies,  prov- 
ing very  popular  before  college  audiences  and  in 


Text   Figure  70 

Sidney   Smith 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

lecture   courses  in   the   territory  where   his   car- 
toons are  followed. 

Clare  Briggs  and  Sidney  Smith  frequently  ap- 
peared together  before  Mr,  Briggs  took  up  his 
residence  in  New  York.  "The  Sunken  Ship"  was 
produced  by  these  two  humorists.  Mr.  Smith 
drew   a   golden   frame,   announcing,    "My   friend, 


CHALK  TALK  ACHIEVEMENT 


131 


Mr.  Briggs,  is  as  famous  as  a  marine  painter  as 
cartoonist,  only  it  is  not  generally  known.  He 
will  now  produce  his  famous  painting,  the  sunken 
ship,  in  one  line."  Mr.  Briggs  smeared  a  little 
blue  crayon  across  the  center  of  the  space  within 
the  frame,  made  a  wavy  line  across  the  top  of  the 


Text  Figure  71 
Crayon  Drawing  of  Andy  by  Sid,  Smith 

blue  tone,  bowed  and  retired.  Mr.  Smith  an- 
nouncing: "Gentlemen,  ladies,  you  have  before 
you  the  masterpiece,  'The  Sunken  Ship.'  The 
ship  has  sunk  completely  out  of  sight,  therefore 
you  don't  see  it." 

Another  famous  simplest  line  drawing  is  Carey 
Orr's    family    of   four   in   one    line.      Readers    of 


132  CRAYON  PRESENTATION 

newspapers  are  very  much  interested  in  seeing 
the  popular  cartoonists  and  watching  the  produc- 
tion of  their  favorite  characters.  Since  Mr. 
Briggs  has  been  syndicating  his  cartoons  through 
the  New  York  Tribune  he  has  made  extended 
tours  of  the  West,  thus  keeping  in  touch  with 


Text  Figure  72 

Clare    Briggs 

Reproduced  by  couTtesy  of  the  Federal  Schools,  Inc. 

his  old  constituency.  Sidney  Smith  has  appeared 
in  vaudeville  houses  in  cities  where  the  Gumps 
are  especially  popular,  the  audiences  taking 
great  delight  in  seeing  Andy  appear  in  the  orig- 
inal under  the  artist's  crayon. 

Mr.  Smith  works  on  heavy  gray  matts,  making 
use  of  white  and  light  colors  in  his  crayon  pro- 
ductions. He  works  on  long  upright  panels,  three 
feet  in  width,  giving  room  for  leaving  several 
drawings  before  removing  the  sheets. 

These  artists  are  in  demand  as  after-dinner 
speakers  and   before   club  organizations,  both   in 


CHALK  TALK  ACHIEVEMENT  133 

Chicago  and  the  cities  they  visit  in  entertainment 
work. 

Among  the  younger  cartoonists  using  chalk 
talk  is  Chas.  P.  Plumb,  who  started  daily  car- 
toon work  on  the  Drover's  Journal  and  in  Com 
belt    dailies.      He    later   syndicated    his    cartoons 


Text   Figure  73 
Charles  Plumb 

Reproduced  by  courtesy  of  the  Federal  Schools,   Inc. 

through  the  Illinois  Agricultural  Association  and 
is  now  carrying  on  farm  betterment  cartooning 
and  illustration  with  the  National  Farm  Bureaus. 
After  leaving  the  University  of  Missouri,  where 
he  illustrated  college  publications,  Young  Plumb 
went  out  as  property  man  with  a  Chautauqua 
crew.  One  afternoon  the  regular  performer  failed 
to  put  in  an  appearance,  having  missed  the  train 
at  the  previous  stop.  Rigging  up  an  easel  from 
the  lid  of  a  rough  box  from  the  furniture  store, 
the  crew  man  went  on  with  an  original  chalk 
talk.  It  so  happened  that  the  manager  of  the 
educational  department  for  Redpath's  was  in  the 


134 


CRAYON  PRESENTATION 


audience  and  offered  the  youthful  cartoonist  a 
position  giving  preludes  the  following  season. 
Crayon  presentation  has  been  one  of  the  big 
factors  in  the  young  cartoonist's  rapid  advance- 
ment. It  has  helped  win  him  distinction  as  an 
authority  in  farm  betterment.  His  cartoons  have 
been  widely  distributed  and  reproduced  in  lead- 
ing national  reviews.  Country  Gentleman  re- 
cently called  on  him  for  a  cartoon  illustration. 


Text  Figure  74 
(  [  Fontaine    Fox 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

-  Fontaine  Fox  characters  in  real  life  appear  in 
'  the  movies  in  the  Toonerville  Trolley.  The  orig- 
.  inator  of  this  unique  idea  is  represented  before 
'big  audiences  by  his  characters,  which  also  ap- 
'  pear  in  his  humorous  cartoons.     Geo.   McManus 

appears  in  person,  presenting  by  means  of  chalk 

talk    the    comic    characters    of    his    Bringing    Up 

Father  feature. 

Winsor   McCay   was   regularly   employed   as   a 

chalk  talk  entertainer  on  the  Keith  Circuit  and  in 


Text  Figure  75 

Fontaine  Fox  Characters 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


136 


CRAYON  PRESENTATION 


New  York  and  Chicago  vaudeville  when  he  hit 
upon  the  invention  of  animating  drawings.  It 
was  in  connection  with  vaudeville  work  that  his 
famous  animated  cartoon,  "Gertie,"  was  created. 
This  was  not  Mr.  McCay's  first  movie  production, 
as  he  had  previously  animated  little  Nemo  and 


Text  Figure  76 

Winsor  McCay 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

Other  juvenile  characters  from  his  colored  supple- 
ment pages  in  New  York  dailies.  It  was  in  the 
Gertie  stunt,  in  which  the  artist  appeared  in  per- 
son, that  the  possibilities  of  animated  cartoons  for 
entertainm(;nt  in  movie  houses  was  first  brought 
to  the  notice  of  managers  and  a  new  use  of  draw- 
ing created. 

In  larger  towns  and  cities  not  only  cartoonists 
and  newspaper  illustrators  appear  in  chalk  talk 
but  writers  make  use  of  it  as  well.  In  Philadel- 
phia, J.  A.  Cunningham  appears  in  illustrated  lee- 


CHALK  TALK  ACHIEVEMENT  137 

tures  in  connection  with  his  humorous  writing 
and  illustration.  In  Duluth,  Ray  Handy,  for- 
merly cartoonist,  now  business  manager  of  the 
News-Tribune,  appears  occasionally  before  civic 
organizations  and  local  entertainments  with  his 
crayon    cartoons.      In    St.    Paul,    Frank    Wing, 


Windsor  McCay's  Gertie  Figure,   First  Animated  Cartoon 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

sketch  man  for  the  St.  Paul  Dispatch,  occasionally 
appears,  and  Arthur  McCoy,  illustrator  for  the 
Pioneer  Press,  is  equipped  for  public  presenta- 
tion, while  Thomas  Kelly,  of  the  Minneapolis 
Journal,  makes  frequent  appearances  in  both 
cities.  Perry  Carter,  cartoonist  for  the  Minne- 
apolis Tribune,  left  that  position  for  lyceum  and 
entertainment  work. 

The  writer  has  all  his  life  made  a  special  study 
of  crayon  presentation,  making  a  start  in  chalk 
talk   performance   when   a   school   boy.     As   first 


138 


CRAYON  PRESENTATION 


page  cartoonist  on  the  Minneapolis  Journal,  there 
was  a  continuous  demand  for  school,  college,  and 
Y.  M.  C.  A,  appearances  and  numerous  short 
trips  into  surrounding  states  were  made  to  fill 
lecture  dates  and  Chautauqua  engagements.  It 
has  been  a  great  pleasure  to  initiate  others  into 
chalk  talk  performance.  Among  the  first  of  these 
was  R.  C.  Bowman,  nationally  known  as  cartoon- 


Geo.   S.   Monson  in   Landscape   Presentation 

ist  of  the  Minneapolis  Tribune.  Although  on 
rival  papers,  we  frequently  appeared  together, 
making  the  most  of  the  supposed  rivalry  between 
our  cartoon  mascots,  the  dog  and  gopher,  which 
appeared  in  our  cartoons.  A  four-round  prize 
fight  on  the  sections  down  the  length  of  a  long 
drawing  board  especially  pleased  our  audiences. 
W.  A.  Frisbie,  well  known  editor  and  humorous 
writer  acting  as  referee  for  one  of  these  events. 


CHALK  TALK  ACHIEVEMENT 


139: 


capped  the  climax  by  declaring  the  event  "a 
draw."  Seconds  were  usually  selected  from  the 
audience,  whose  duties  it  was  to  fan  the  contest- 
ants in  their  corners  between  rounds. 

Profiles  of  each  other  were  drawn  from  shad- 
ows cast  on  the  drawing  board  by  the  spot  light 
or  some  reflector.     Bowman's  profile  was  easily 


Perry  Carter  and  One  of  His  Characters 

Reproduced  by  courtesy  of  the  Federal   Schools,   Inc. 

converted  into  a  good  likeness  of  Bryan,  while 
mine  was  made  over  by  Bowman  into  a  caricature 
of  President  McKinley. 

We  would  prevail  upon  the  local  minister  or 
school  superintendent  to  come  on  the  platform 
and  hold  a  wadded  newspaper  to  cast  a  shadow 
which  was  quickly  outlined  by  one  of  us  while 
the  other  traced  the  outline  of  the  gentleman 
holding  the  object.  Some  tough  character  was 
likely   to   evolve   from  the   shadow   of  the   news- 


140 


CRAYON  PRESENTATION 


paper,   probably   a  prize   fighter,   whereupon  we 

would  unfold  the  paper  and  call  attention  to  the 

fact  that  it  was  a  sporting  page  and  caution  our 

,  host  against  keeping  such  literature  in  his  church 


Text  Figure  77 
Bart  in  Y.   M.  C.  A.   Performance 


or  school.  At  other  times  one  of  us  would  unfold 
the  paper  containing  our  rival's  cartoon  and  ex- 
plain the  unfortunate  affair  as  having  happened 
because  of  taking  the  wrong  newspaper. 

In  a  Y.  M.  C.  A.  entertainment,  during  the 
war,  Hugh  Hutton,  one  of  my  later  day  stu- 
dents, was  given  a  farewell  rehearsal,  on  his  de- 
parture for  France.  A  prelude  to  this  event  was 
given  by  six  young  ladies  of  the  Y.  W.  C.  A.,  each 


CHALK  TALK  ACHIEVEMENT 


141 


of  whom  had  prepared  one  of  the  Basic  Num- 
bers for  the  occasion.  The  Government  Commit- 
tee on  Publicity  later  distributed  Bart  Patriotic 
Programs   for   use    of   camp    entertainers    in   the 


Text  Figure  78 
Bart  In  Outdoor  Chalk  Talk 

United  States  and  overseas,  supplying  the  basis 
for  programs  used  by  many  performers  who  had 
to  fit  into  the  work  on  short  notice. 

Young  Hutton,  holding  a  position  as  telegraph 
editor  and  cartoonist  on  the  Nebraska  State  Jour- 
nal, at  Lincoln,  and  giving  occasional  chalk  talks, 
fitted  into  overseas  programs  on  ten  days'  notice. 
An  early  enlistment  in  Minnesota  had  resulted  in 
the  loss  of  a  leg  in  the  service,  but  he  followed 
his  regiment,  the  First  Minnesota  Field  Artillery, 
into  Germany  notwithstanding. 


142 


CRAYON  PRESENTATION 


•  On  the  trip  over  he  gave  the  Saturday  evening 
program  on  board  ship,  carrying  Y.  M.  C.  A. 
canteeners,  Red  Cross  workers  and  professional 
entertainers  and  theatrical  producers.  In  Liver- 
pool  he   appeared   before   a   gathering   of   seven 


Text  Figure  79 
Hugh  Hutton  in  Overseas  Entertainment 

nationalities,  as  his  chalk  talk  was  the  only  lan- 
guage everyone  could  understand. 

So  successful  was  the  young  entertainer  in 
London  hospitals,  the  "Eagle  Hut"  on  the  Strand 
and  in  France  and  Germany,  that  he  was  given 
opportunity  to  tour  the  British  Isles  for  an  En- 
glish booking  agency.     One  of  his  overseas  stunts 


CHALK  TALK  ACHIEVEMENT 


143 


was  the  drawing  of  the  picture  of  a  vessel  coming 
into  New  York  harbor  to  song  accompaniment, 
Homeward  Bound,  by  members  of  the  concert 
company  with  whom  he  was  touring.     Soon  after. 


Hutton 


Text   Figure  SO 
in   Chalk   Talk    Entertainment 


however,    general   orders   were   issued   forbidding 
reference   to   homegoing. 

In  a  demonstration  of  his  Lincoln  drawing  for 
one  of  the  leading  American  Chautauquas,  his 
draftsmanship  was  highly  commended.  This 
drawing  is  produced  by  erasure  of  black  charcoal 
with  which  the  rough  ingrain  wall  paper  upon 
which  the  portrait  is  being  made  is  coated.  Wall- 


144 


CRAYON  PRESENTATION 


paper  cleaner  is  used  to  get  the  high  lighting  for 
the  result  desired. 

Carl  Nelson,  superintendent  of  schools  at 
Moulton,  Iowa,  uses  chalk  talk  entertainment  in 
Chautauqua  during  summer  vacations  and  in  con- 
nection with  school  work  during  the  school  year. 
He  finds  the  crayon  a  splendid  adjunct  of  public 


Text  Figure  81 
Overseas  Stunt  by  Hugh  Hutton 


speaking  and  predicts  greater  use  of  it  in  educa- 
tion as  well  as  entertainment.  During  his  col- 
lege course  at  Lawrence  University,  Young  Nel- 
son spent  vacation  in  Chautauqua  performance, 
gradually  rising  from  $25  a  week  and  expenses 
to  over  $100  per  week  and  an  ever  growing  de- 
mand for  his  connection  with  Chautauqua  organi- 
zations. 


CHALK  TALK  ACHIE\'EMENT 


145 


J.  Allen  Troke,  a  minister  of  Clarkfield,  Minn., 
appeared  in  his  first  chalk  talk  at  Hayfield,  Iowa, 
in  December  of  1915.  Le»s  than  five  years  later 
he  had  made  the  transition  to  lecture  work, 
broadening  his  sphere  of  influence  and  netting  an 
income  of  $125  per  week. 


Text  Figure  82 
Hutton's  LJncoIn  for  Crayon  Vaudeville 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

Fred  W.  Park  is  making  interesting  use  of  the 
crayon  in  Y.  M.  C.  A.  educational  work  in  the 
Oregon    Institute    of    Technology    at    Portland. 

John  M.  Baer,  cartoonist  for  LABOR  in  Wash- 
ington, for  two  years  the  cartoonist  congressman 
from   North   Dakota,   made   his   entry   into   prac- 


146 


CRAYON  PRESENTATION 


tical  politics  with  his  chalk  talk  ability,  and  to 
use  his  own  terms  literally  "drew  his  way  into 
Congress." 


Text  Figure  83 

Rev.  J.  Allan  Troke 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


J.    M.   Baer.   Cartoonist-Congressman 


HO W  TO  SUCCEED 
IN  CHALK  TALK 

Through  chalk  talk  and  crayon  presentation,  there 
is  opportunit}'  for  you  to  win  distinction  in  your 
present  vocation,  and  lay  the  basis  for  highest  suc- 
cess in  a  broader  field. 


F\?iCft  FIRST,' 


v\C 


Edward   Marshall  in   Patriotic  Vaudeville 
Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 


Carl   Nelson,  Chautauqua 
Entertainer 


Hap  Hadley  Sketch  Artist 
in  Musical  Comedy 


Edwin  Bloom,  Cardwriter  Who  Finds  Chalk  Talk  Makes  Life  More 
Worth   Living 


Chapter  IX 

HOW   TO    SUCCEED    IN    CHALK   TALK 
AND    CRAYON    PRESENTATION 

Editor's  Note. — The  preceding  chapters  in  this  book  hav© 
been  written  in  an  impersonal  way,  for  the  general  reader. 
In  this  final  chapter  I  am  going  to  talk  to  you,  who  are  in- 
terested in  making  actual  use  of  chalk  talk  and  crayon  pres- 
entation, in  the  first  person.  It  has  been  my  privilege  to 
write,  rewrite  and  revise,  over  and  over,  twelve  text-books 
on  Illustrating  and  Applied  Cartooning,  for  the  Federal 
Schools,  Inc.,  Minneapolis,  conducting  correspondence 
courses  of  drawing.  I  believe  one  reason  tor  their  great  suc- 
cess is  the  fact  that  I  talk  straight  at  the  students.  So  I 
will  follow  the  same  plan  with  you. — Bart. 

Success  can  come  to  you  in  chalk  talk  and 
crayon  presentation  just  as  it  has  come  to 
others,  if  you  will  but  make  a  try  at  it. 

To  best  outline  what  I  expect  of  you,  I  must 
first  tell  of  my  work  in  directing  correspondence 
study  that  students  may  make  a  practical  use  of 
their  ability  in  drawing.  In  editing  the  Course 
in  Illustrating  and  Cartooning,  I  outline  studies 
to  be  followed  by  the  student,  and  in  the  lesson 
criticism  which  I  conduct  in  connection  with 
trained  specialists  in  various  lines  of  draftsman- 
ship, I  suggest  practice  exercises  that  lead  by 
progressive  steps  to  skilled  development. 

The  success  of  hundreds  of  students  all  over 
the  world  in  making  practical  application  of 
their  drawing  by  this  method,  causes  me  to 
believe  that  one  can  say  more  in  print  and 
say  it  better  than  in  spoken  language.  I  find 
I   am  able   to   tell   students   in   printed   text   and 


150  CRAYON  PRESENTATION 

typewritten  pages  of  letters,  essential  facts,  and 
by  continuous  co-operation  bring  them  into  the 
desired  use  of  their  ability  in  drawing.  In  this 
I  am  aided  by  examples  from  leading  illus- 
trators and  cartoonists,  and  contributions  by 
authorities  on  basic  draftsmanship.  We  of  the 
faculty  of  the  Federal  Schools  have  come  to 
believe  that  the  logical  way  of  teaching  draw- 
ing is  by  means  of  illustrations  and  carefully 
written  text  explaining  them.  Results  justify 
these   conclusions. 

.  .After  all,  it  is  up  to  the  student  to  train  him- 
self by  following  a  plan  which  he  maps  out  for 
himself,  or  which  is  outlined  for  him  by  some 
one  who  has  been  over  the  same  ground  and 
who  can  bring  the  experience  of  leaders  in  the 
profession  to  the  aid  of  the  beginner.  It  is 
logical  that  a  student  of  draftmanship  can  be 
best  told  how  to  go  about  his  drawing  by  show- 
ing him  the  standard  productions  of  the  best 
artists  in  a  similar  line  of  work.  What  is  yet 
more  important  is  to  suggest  methods  by  which 
he   can   himself   originate. 

Another  element  that  enters  into  home 
study  by  correspondence,  that  I  believe  to  be 
most  essential,  is  the  inspiration  which  a  con- 
scientious instructor  can  give  students  who  be- 
lieve in  him.  Over  and  over  again  have  I  had 
young  fellows  tell  me:  "I  accomplished  thus 
and  so  because  you  gave  me  the  confidence  to 
undertake    it." 

One  woman  writes:  "The  interest  you  have 
manifested    in    my    work    has    been    a    great    in- 


HOW  TO  SUCCEED  IN  CHALK  TALK  15i: 

spiration,  because  you  know  it  seems  to  bring' 
out  the  best  in  one,  to  have  somebody  show 
they  believe  in  your  ability  and  success,  which 
causes  you  to  push  on  and  attain  your  aim  and 
ambition." 

Nobody  dreamed  of  the  possibilities  of  chalk 
talk  development  through  printed  direction 
until  the  Bart  system  of  charts,  pictures  and 
word  accompaniment  was  distributed.  I  simply 
had  confidence  that  others  could  do  what  I  had 
been  able  to  accomplish  before  an  audience,  and 
provided  definite  stunts,  which  I  had  found 
successful.  In  sending  out  my  system  of  chalk 
talk  origination  and  Basic  Numbers  for  practice 
and  public  performance,  I  never  overlook  the 
opportunity  of  inspiring  the  novice  with  con- 
fidence in  his  ability  to  do  things  which  so  many 
others,    no    better    qualified,    have    accomplished. 

Now  to  come  to  the  case  in  point:  what  can 
you  get  out  of  this  booklet  on  chalk  talk  and 
crayon    presentation? 

My  hope  is  that  it  will  start  you  in  public 
presentation  at  once,  and  that  once  started  you 
will,  by  the  suggestions  offered,  work  out  for 
yourself  an  individual  use  of  chalk  talk.  Into 
its  pages  I  have  endeavored  to  condense  sug- 
gestions on  every  use  of  the  crayon,  with 
examples  of  the  work  of  many  leading  enter- 
tainers. 

It  has  been  compiled  to  suggest  rather  than 
to  instruct  in  detail.  The  Chalk  Talk  Classi- 
fication of  Chapter  VI  and  the  Ten  Standard 
Stunts   of   Chapter   VIII  are  to  help   you  select 


152  CRAYON  PRESENTATION 

the  kind  of  chalk  talk  you  want  to  do.  The 
drawing  of  the  right  Angle  Introduction  stunt 
is  given  in  detail  in  Chapter  III  and  the  word 
accompaniment  in   Chapter  V. 

Take  this  introduction  for  a  beginning,  build- 
ing up  your  own  program  from  the  simplest  of 
the  Ten  Standard  stunts,  working  out  the  kind 
of  a  program  that  appeals  to  you  most. 

Put  in  as  much  as  you  can  of  your  own  as 
soon  as  possible,  but  in  the  beginning  be  con- 
tent to  use  drawings  and  word  accompaniment 
in  the  simplest  and  briefest  form. 

Select,  for  instance,  the  alphabetic  faces,  and 
follow  them  up  with  a  few  simple  line  stunts, 
beginning  with  the  soldier-door-dog  and  ending 
with  Mr.  Bengough's  operatic  singer,  from  the 
oval,  square,  triangle,  etc.  In  doing  this,  dwell 
upon  the  suggestive  quality  of  lines.  Then 
allow  your  audience  to  take  a  hand  once  more 
by  calling  someone  from  their  number  to  place 
five  dots  at  random  on  the  board,  assuring 
them  you  will  draw  a  figure  in  action  with  his 
head  on  one  of  the  dots,  his  hands  on  two 
others,  and  his  feet  on  the  remaining  two,  as 
indicated  in  Figure  84.  You  will  need  a  little 
preliminary   practice   to   do    this   quickly. 

A  drawing  in  colors  of  the  Indian  head  after 
the  Edward  Marshall  suggestion  may  have 
musical  accompaniment,  or  you  may  perhaps 
evolve  Uncle  Sam  from  the  eagle  in  a  patriotic 
number,  or  perhaps,  if  proficient  in  portraiture, 
you  may  undertake  a  head  of  Lincoln  or  Wash- 
ington. 


HOW  TO   SUCCEED  IN  CHALK   TALK 


153 


One  turnover  may  be  undertaken.  The  coon- 
moon  face,  Figure  53,  is  a  good  one  with  which 
to  start.  The  reversible  feature  should  be  kept 
as  a  surprise.  If  using  but  one  turnover  number, 
the  sheet  may  be  torn  from  the  board  and  held 
upside  down  before  the  audience,  until  you  equip 
yourself  with  a  reversible  board. 


3— 


=T.-.2 


Text  Figure  84 

Ted  Neison  Five  Dot  Cfialk  Talk  Stunt 

Reproduced  by  courtesy  of  the  Federal  Schools,  Inc. 

The  quick  evolution  of  a  good  night  number 
from  the  candle  stick  as  shown  in  Figure  59A, 
may  give  you  quite  as  satisfactory  results. 

It  is  not  my  purpose  to  bind  you  to  any  set 
program  or  stereotyped  numbers,  but  rather  to 
give  you   the  suggestion  for  your  own  develop- 


154  CRAYON  PRESENTATION 

ment.  Practice  will  make  easy  the  simple  draw- 
ing requirements,  and  a  tryout  before  an  audience 
will  give  you  the  test  of  your  efficiency  and 
show  you  what  to  omit  and  what  to  develop. 

From  the  numbers  included  in  this  booklet 
may  be  built  up  for  yourself  a  program  similar 
to  the  Little  Program  of  simple  numbers  of 
Division  Three  of  the  Course  in  Illustrating  and 
Cartooning. 

Not  long  since,  I  received  a  letter  from  C. 
Vance  Thompson,  of  Princeton,  W.  Va.,  which 
read:  "Division  Three  was  a  Godsend  in  my 
case,  in  this  way:  Late  one  evening  I  received 
a  request  for  a  chalk  talk.  I  marshalled  my 
meagre  supply  of  numbers,  but  found  them  lack- 
ing the  particular  stunts  needed.  At  9:00  o'clock 
I  received  Division  Three.  By  10:00  o'clock  I 
had  incorporated  new  stunts,  and  by  4:00  P.  M. 
had  whipped  the  program  into  shape.  At  8:00 
P.  M.  I  presented  my  act  to  the  assembled 
teachers   of   Marshall   county." 

Percy  Hoffstrom  writes:  "The  first  program 
I  gave  was  before  an  audience  of  600  at  the 
Seattle  Press  Club.  Since  then  I  have  per- 
formed at  political  meetings,  local  movie  houses, 
and   entertainments   of  various  kinds." 

Ivan  Zengler  used  the  chalk  talk  of  the  course 
to  establish  him  in  a  musical  chalk  talk  act  with 
the  Kenton  Revue,  upon  completing  Division 
Three.  After  a  year's  experience  in  vaudeville, 
he  returned  home  to  finish  his  correspondence 
training  in  drawing  for  reproduction. 

These  instances  of  the  use  others  are  makinsf 


HOW  TO  SUCCEED  IN  CHALK  TALK  155 

of  the  Bart  Chalk  Talk  System  are  quoted  in  this 
chapter  on  "How  to  Succeed"  as  examples  of  the 
varied  uses  to  which  chalk  talk  is  being  adapted 
by  different  students. 

No  matter  what  your  vocation  or  present  pur- 
suit, there  is  some  immediate  use  to  which  you 
can  put  your  crayon.  Of  course,  there  are  certain 
callings  where  chalk  talk  is  especially  adaptable. 
In  high  schools  and  colleges  everywhere  students 
are  learning  the  technicalities  of  drawing  for 
reproduction,  making  application  by  drawing 
the  cartoons  and  illustrations  for  school  pub- 
lications. There  are  a  still  greater  number  mak- 
ing an  early  use  of  drawing  in  chalk  talk  and 
crayon  entertainments.  The  instructor  capable 
of  pointing  the  way  to  young  high  school  and 
college  students  is  a  better  teacher.  We  have 
many  such  teachers  as  students  of  Illustrating 
and  Cartooning. 

J.  P.  Carson,  of  the  University  of  Georgia  Glee 
Club,  toured  the  state  in  chalk  talk  with  only  a 
few  days  preparation.  Prof.  Samuel  C.  Hamm,  of 
De  Pauw  University,  has  the  course  for  training 
students  under  his  charge  for  glee  club  work.  He 
is  adept  himself  in  pen  cartoons  and  drawing  for 
reproduction.  Frederick  M.  Lobdell,  president  of 
the  Indian  School  at  Chin  Lee,  Ariz.,  is  in  great 
demand  in  the  state  because  of  his  ability  in  chalk 
talk  presentation. 

Edwin  Bloom,  a  professional  window  trimmer 
in  Valley  City,  N.  D.,  finds  chalk  talk  "the  means 
of  getting  more  out  of  life  in  a  community."  Big 
offers   in   cardwriting   from  larger   cities   do   not 


156  CRAYON  PRESENTATION 

tempt  young  Bloom,  as  he  says  he  would  not 
give  up  the  opportunity  of  meeting  people  in  a 
business  way  in  the  actual  selling  of  goods.  The 
chalk  talk,  he  says,  carries  the  same  thing  a  step 
further,  as  public  appearance  with  his  crayon 
gives  him  the  chance  of  meeting  and  making  the 
acquaintance  of  the  largest  number  of  people  in 
community  work.  As  he  says,  the  use  of  chalk 
talk  helps  one  to  get  the  most  out  of  life. 

Chas.  F.  Wantz,  a  young  banker,  of  York,  Neb., 
who  studied  drawing  under  my  direction  in  the 
Federal  School  course,  writes:  "Since  entering 
the  ministry,  which  call  I  answered  rather  unex- 
pectedly, I  desire  to  thank  you  for  your  part  in 
getting  me  interested  in  chalk  talk,  for  I  assure 
you  it  is  a  great  asset  to  my  sermon  work.  I  am 
much  more  efficient  because  of  this  talent  which 
you  helped  me  find  and  develop." 

Levi  Gitchell,  another  business  man  of  Neb- 
raska, uses  chalk  talk  as  an  interesting  side  issue, 
touring  towns  of  Nebraska  and  neighboring  states. 

Wilbur  H.  Giddings,  of  Americus,  Ga.,  made  a 
start  as  crew  boy  for  the  Redpath  Chautauquas 
and  soon  fitted  into  showcard  work  in  the  adver- 
tising department,  and  chalk  talks  for  the 
children's  hour. 

W.  M.  Sullivan,  a  Montana  insurance  man, 
makes  use  of  chalk  talk  in  organization  of  sales- 
men, and  appearance  before  conventions. 

Dr.  E.  V.  Edmonds,  a  veterinarian  of  Mount 
Vernon,  Wash,,  feels  that  his  business  success 
and  acquaintanceship  has  been  materially  assisted 
by  crayon  presentation. 


HOW  TO   SUCCEED  IN  CHALK  TALK  157 

Dr.  J.  W.  Crawford,  a  dentist  of  Frederick, 
Wis.,  uses  the  crayon  to  great  advantage  in 
clinical  demonstrations  and  in  illustrated  addresses 
before  dental  conventions. 

These  are  but  a  few  illustrations  of  the  varied 
uses  to  which  the  crayon  is  being  adapted  in 
entertainment,  education  and  business.  The  chalk 
talkers  are  not  different  in  general  ability  from 
yourself.  Specific  instances  have  been  quoted 
from  various  professions  to  show  how  general  is 
the  modern  use  of  crayon  in  community  life  all 
over  the  country. 

In  none  of  these  cases  were  the  chalk  talkers 
gifted  artists  or  experienced  entertainers.  They 
simply  took  advantage  of  the  modern  system  of 
acquiring  the  basis  of  crayon  presentation,  and 
built  up  for  themselves  an  individual  program 
which  brought  them  distinction  and  remuneration. 

What  they  have  accomplished  has  been  dupli- 
cated by  many  others  all  over  the  United  States, 
with  scattering  cases  of  unusual  achievement  in 
various  quarters  of  the  English  speaking  world, 
in  Australia,  New  Zealand,  Canada  and  the  vari- 
ous island  possessions  of  the  United  States  and 
Great  Britain. 

From  this  group  are  being  developed  the  lec- 
turers, entertainers  and  gifted  specialists  in  edu- 
cation and  business. 

In  a  previous  chapter  was  told  the  story  of 
Hugh  Hutton,  who  fitted  quickly  into  overseas 
entertainment  because  of  basic  chalk  talk  train- 
ing in  connection  with  his  high  school  course  and 
beginning    newspaper    work.      An    account    also 


158  CRAYON  PRESENTATION 

was  given  of  how  Charles  Plumb  advanced  to  a 
position  among  the  American  cartoonists  from 
a  beginning  in  chalk  talk,  and  still  uses  illustra- 
tion in  lectures  for  farm  betterment  in  connection 
with  syndicating  of  cartoons  for  the  National 
Farm  Bureau.  There  are  opportunities  for  a 
cartoonist  on  rural  subjects  with  agricultural  as- 
sociations in  every  state  in  the  Union.  How 
Congressman  Baer  made  his  way  from  cartoonist 
to  a  place  in  the  House  of  Representatives  by 
means  of  chalk  talk  in  a  political  campaign  is  an 
interesting  episode  in  the  history  of  chalk  talk 
and  crayon  presentation. 

These  striking  instances  of  chalk  talk  develop- 
ment are  coming  from  among  the  beginning 
users  of  the  crayon,  quite  as  frequently  as  from 
trained  artists.  You  may  have  every  other  quality 
for  success  excepting  practical  application  of 
drawing  to  the  particular  thing  you  are  doing  or 
are  most  interested  in.  Special  training  in  draw- 
ing, development  in  self-expression,  and  origin- 
ality will  follow  the  beginning  in  chalk  talk. 

We  will  take  it  for  granted  that  you  will  not  be 
satisfied  with  your  first  crude  attempts  at  draw- 
ing. That  is  a  good  indication,  and  you  will  have 
plenty  of  opportunity  to  improve  your  draftman- 
ship  as  you  proceed  with  your  chalk  talk. 

There  will  be  times  when  the  word  accompani- 
ment you  improvise  will  seem  inadequate.  There 
are  available  definite  stunts,  numbers  and  pro- 
grams if  you  feel  the  need  of  them  later.  What 
you  need  right  now  is  the  experience  of  using  the 


HOW  TO   SUCCEED  IN  CHALK  TALK  159 

simplest  kind  of  stunts  before  a  friendly  audience. 
Such  audiences  are  awaiting  you  in  your  home 
community.  You  would  not  find  them  available 
in  the  big  art  centers.  Prepare  yourself  in  con- 
nection with  school,  business  or  social  organiza- 
tions made  up  of  people  whom  you  know  best 
and  who  are  most  interested  in  you.  and  be  ready 
when  the  big  opportunity  comes  to  you,  just  as 
were  Hugh  Hutton,  Charles  Plumb  and  John  M. 
Baer. 

As  I  said  in  an  early  chapter,  with  successful 
consummation  of  the  beginning  program  before 
an  audience  comes  a  brightening  up  of  the  whole 
situation.  No  matter  what  development  you  con- 
template or  what  course  of  training  you  may  have 
in  mind  as  valuable  or  necessary  for  the  ideal 
result,  take  my  word  for  it  and  make  an  early 
appearance  with  material  at  hand.  After  this 
practical  start  you  will  know  better  what  the 
requirements  really  are.  The  biggest  item  for 
your  success  in  Chalk  Talk  and  Crayon  Presenta- 
tion is  to  make  a  beginning,  not  next  month  or 
next  year,  but  now.  The  little  book  in  your  hand 
will  help  you  do  this. 


FOR    CHALK     TALK     MATERIALS    AND     EQUIPMENT,    ART 

GOODS    OF    ANY    KIND— STUNTS    AND    PROGRAMS,    WITH 

WORD-    ACCOMPANIMENT. 

Address  BART  SUPPLIES 

7  South  Sixth  street,  Minneapolis,  Minn. 

Price  List    On   Request 


The  Federal  School  Course 

in 

Illustrating  and  Cartooning 

By    Correspondence   Study,  is  the  ideal  method 

of  learning  how  to  make  practical   application 

of  your  ability  and  liking  for  drawing. 


Let  Us  Tell  You  About  It: 

You  would  highly  prize  the  opportunity 

to  call  upon  leading  cartoonists  and  illustrators  in 
their  studios  and  to  view  latest  examples  of  their 
work.  You  can  accomplish  the  same  result  by 
sending  for  the  Federal  School  Catalogue,  "THE 
ROAD  TO  BIGGER  THINGS." 

If  interested  in  developing  yourself  in  drawing 
for  newspaper  or  magazine  illustration,  cartoons, 
comics,  animated  art,  chalk  talking  or  card  writing, 
write  today  for  this  prospectus  of  possibilities  in 
every  phase  of  free  hand  drawing — ^It  costs  you 
nothing  but  the  asking. 

FEDERAL   SCHOOLS,    INC. 

61  Federal  Schools  Building— 323-329  HFTH  AVENUE,  SOUTH 

MINNEAPOLIS,  ::  ::  MINNESOTA 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

305  De  Neve  Drive  -  Parking  Lot  17  •  Box  951388 

LOS  ANGELES,  CALIFORNIA  90095-1388 

Return  this  material  to  the  library  from  which  It  was  borrowed. 


UC  SOUTHERN  REGIOtML  UBRARY  FACILJTY 


A     000  647  357     3 


Uni 
c 


